P"Froloz

u'oo
213
./ht"
B0
Ruuirud and Corrected Compositions
Together with an Essay on the
Evolution oI Music in Cuba
BY
8*lo
zenet
-
PROLOGUE BY DR. EDUARDO SANCHEZ DE FUENTES
Tro nslated by R. Phillips
HAVANA, APRIt, MCMXXXIX
by
D rrr.rn Gtenet. rhe talented
L
ou,
-u"i,
ha\
(equesLed me
no adoance ptaise.
FDUARDo ,^^,{Tt:::)
Vounq
Cuban musician, author of this intere:tting studg of
b arite a fetLt lines as a ptologue, although his taotk needs
I cannot reluse Grcne|s rcquest, which uas ptobablg based on the fact that I haoe long
been a student of our folhlore. Grenet has gitten a most excellent pictuft ol the deoelopment
of Cuban music, atthough I do fiot fullv agree uith certain of his opinions' such as ahen he
speahs ia extensum of the catc:Lt, the habaneo, the bolero and of othet facets of out rich
musical field.
He has dioided out music into negto and white ot Spanish music. I am for mang teasons
closet to the latter. As Grenet toas born and teared both hete and in Europe duting thrs
period of productions such as Pacific 211, Rapsody in Blue, Rebambaramba, Homenaje a 1os
pltanos fritos, etc. etc., he is imbued u:ith the so called new aesthetics and ;t is logical thdt
he cloes tot approach certain ptoblems with the oietopoint of lormet times. This causes out
stnall differences- From a location on tu)a sepdtdte planes,
our opinions cannot be identical
although rL,ith reference to the melos, the pathas. the eutgthmV, the dactgls ancl organic
anapests of our music, irs moclal morphc:logq sequel oi cadences ancl semi-cadences- an-
ticipated bass and othet peculiarities of oLc sonotous oerb, we hatte similar opinions.
It is diffLcult to build up the summatg
of intrinsic elements of an att within such a tatted
folhloric modalitg as ours u;hen histoticol ddta is lacking and, since studies such as this of
Grenet are
just
beginning to be made in Cuba there are no true lines of otientdtiofi. Houeaet'
for this rcason, fantasg should not be gitten a loose reign nor should the consonant of deductiol'1s
be exhausted in order to pass judgment and fix des which should be fundamental fot this
class of att.
We must haoe the inoestigating sprtit and the mentdl freshness and curiositrtr such as
Emilio Grenet has to be abLe ta dig into the mqsterg of out musical past, uneclrthing infartua-
tion and recoaeting data ohich serues LIs ds a basis
for the rectificat{on of errors or to perpet-
un t e unq ue* L tonable premises
Thls necessit,l a[so applies to out preset musical status in which our goang masicians
are undecided tohether to follow the ancesttal trail of the negro, diluted bq the mixed bloocl
stream of the majoritg of our Island, or the mistaken path of copging our neighbors on the
North who in turn, toith tarc exceptions @e might sag,lacking ttaclition imitate the pattot.
T.his essag will hat:e a greatet importance ta postedtA tha the author realizes since it reoeals
the ecessaJ istruction and points out cerrain doubts which those uho come after us should
clatifg,
It gioes me
qrcdt jo7
to see that the seed soutn in the folhlote fie[d has gitten fruit. Now
it is Emilio Grenet who pioneets and seehs the path- I omorrc@ it aiLl be othet Cuban
gouths aho folloo us in these tosks. Thus the historg of our music will go foruard through
car9ful inttestigations and the entite uorld uill become acquainted aith ou theoties an the
origin of the Cuban music uhich uas unquestionablg in its protoplasmic slate inffuenced bg the
spirit of the melatcholtt ldiafl, the adaeturous Spaniatd and the negto sldoe toho brought
us his unmistahable rhqthms; but the music uhich todag is known as negro music should not be
considered our onlg music.
I
-VII-
/-t
e u[r^
^rsi,
1
GUIDE TO TTS STUDY AND UND ERSTA"'*O:/
Object of the Work:
/
HE Gove.nmcnt of rhe Republic of Cuba desires to hereil providc e guidc to
'
oul rhyrhms rnJ n.cLodics which har,e awakencd universal intcrest during the past
decade. Our rnusic has
jnvaded
all regions ancl has flourished in r1l cLimes, being
assimilated by those of all latitudes who recognized in it the true and legitimate
quality of popular music, which they havc made their ou.n.
Although this si..iritual conquest of Cuba is a fact rvhich cannot be disputed, it is
no less true that thc source of all this enthusiasm, the pathos of the soul which gave
it origin is not recognized; and that a great part of the world u,hich sings Cuban
songs does not know from whence the ne*' rhythm which it h:s adopted comes. Thus
the peoples closely linked to Cuban by geographical location, like North merica, or
by blood ties, like Spain, fail lamentably to uderstand the distincr and defirite pu
sonality embodied in our songs and imbue them v'ith meanings which are entirely
foreign. s a reslt re see our suggestie Mama Ins. symbol of our most noble and
unquestionable past, forgottefl for a vampire who fecls as an mericrn and dresses and
dances like a Spaniard.
Our neighbors of the North think that our musical genre
consists cxclusively oI the
rumba. And eer the rumba, embodying in gesture and sound our molt oLrtstand-
ing itality, has been divested of its true spirit and made effeminate in the same
fianner as the Argentinc tango ,ith which our rumba has becn
,:onfused.
-fhe
re
sult is something alien to us. a superficial, false and uncxptessive tiance.
The Spanish havc understood our music a little berter, associting a su,eet and enet,
vating tropicalism to the slorv cadence and rhythm of tbe habanera ar.d the danzn,
particularly as regatds the former, due perhaps t the more ostensible Spanish spirit
embodied in these two gcnres.
If our closest physical and spiritual neighbors, *,ho are capable of making ou t music
outstalding, Spain tbrough its location in Europe and the United St:tes tbrough
their powerful meaos of diffusion, such as the rnovies, the phonograph and the raclio,
cannot understnd us, the[ it is not to be expected that the rest of the worid will
appreciate the true spirit of our music any bettet. It should be made known,
-and
this we lepeat is the underlying purpose of this work- that lvhat is now preselted
to the
jaded
European taste, avid for new stimuli as somethiog new, capable of pro-
viding new thri11s, is not somethirg which has been improvised as I touris! rrractiol,
but a spiritual chieement of a people that has struggled during four ccnturies to
find a medium of expression.
Cuban Music in Latin merica:
In Latin merica, especially in Mexico anC the ntilles, the situation is somervhat
more encoruaging. Not only is there bctter comprehension of ou( musical expres-
sion but their ccmposers adopt cu1 rhythms nd forl as lheir own
(')
finding possibly
that the American spirit is better defined in them; in other u'ords, a more personal
ad truer means of popular expression of the two most outstanding racial charac-
teristics of merica: the Spanish and the Negro. The profound melody oI mystic
Castile and the
1oruba,
rhythm. expression of lustic mysteries such as the oice of
occult
?o\rers
of nturer rhythm coqerted into religion on the symbolic drms of
Ecu.
Aboriginal Element:
'With
respect to tbe autochthonous element, the Indian vrho sutvived colonization
in the rest of the mericas practically disappeared in Cuba, aod if anything of him
surr,rves in our music, it is impossible for us to dicern it. No documentary evi-
dence exists, as the sotgs attributed to him are of very dubious aLlthenticity. The me-
lodic structure is so similar to ours that it is very difficult to believe that they are not
merely transformations very different from the original.
Horvever, we cannot overlook the reasons adanced by our cultured Dr- Eduatdo
Snchez de Fuentes whose studies of Cuban music guide us in this work. He says:
"It
is undeniable thrt the Ildin wome concubines of the Spaniards (who did not
bring women on their expeditions of conquest) lulled their children to sleep lvith
their simple songs.' Undoubtedly this fa.t had a certain influence in the ori
gin of our usic, but it is no less probble that su.h influence may hae soon become
diluted in the two clemetts of parout force \hich united to give a definite charac-
teristic to our songs: the Spanish melodies and the frican rhythm.
S/e cannot determine to \hat degr!e the ztec and Inca elemctts subsist in the
songs of Mxico and Perri. respectively, but we have determined that the most typi-
cal musical expression has a very close relation to certin songs rve have heard in the
Ptovinces of Biscay in Spain.
It would be r.ery interesting if at thrs time 'hen the artist crcates intellectually, being
more corcerned with imparting a historical import to his work than slncerity of ex-
pression, we possessed documents which would enable us to closely follow the eolu-
tion of the tu.o directing influences in their coatact with our medium and subject to
their reciprocal influences up to that \hich is today most characteristically ours;
to lvit, the
(usion
of the frican drum, which is represented by tlre bogo
and the Spanish
guitar which is represented in its Cubanized aspect by the ,res.
Data vrhich would make it possible for us to build up our musical history and deter-
mioe the exact relation of the components of the present product lvith the frican
or the Spanish either do not exist or have not yet been discoYered; but we ay refe.
to other manifestations of the same spirit produced in the same environment and sub-
jected to the same social and physical influences which musr necessarily produce a
similar mixture, so far as proportion is concerned, in music and to observe thtough
this means the exaat situation of our'present nation1 musical development.
19,1 tvo .onpsnions by Rafad Hernind.r, Pu(o
pisented nany rines both in Cubi ind rbrord rs
Menin gslin Lr.
(l) See oi pgor 181 ard
...nt. ho5e \orks !tr been
1_r.
"1i.
cld !. aid of t!.
Ren rbapsdist vho speks ith or
lrodu
f trr poplr inspirrtion.
-x-
Relation Between Our Prosody and Our Mugic:
1[-or;nderstandhowevolutionofverbalexpressionmustrurparalleltothatof
music. both of which are in essence a sociological fact, we quote Jules Combarieu
rvho, in speaking ol tbe ptain cc,l says:
"The
musical language in which we ex-
pess ourselves today comes from the Middle ges being the result of an evolution
almostidenticaltothatofverballanguage"Healsosays:"ilhegeneralprilci-
p1e in the organization of the plain chant is' from the statdpoint of the most im-
io.tant
so.igi.rl fact
(language) a capital phenomenon: the tonic accent' The
ihant is its development and flowering"'
Observing our language, we might say chat it presents n grad:tion of tones which
corresponds similar tones ia music $/e see that the strorg severity of the lan-
goag" of the .olonizers has bee attetlrated
by our environment' tht the most saliellt
idgJ. of pur. Castillian have lost their temper in contact with the warmth of our sun
und lik.*i.n the mclodies of the Spanish
peninsular adapts themseLves to lhe le\'
evironment and becomes less ptofund and more sensual Taking as a starting point
the prosody of the cultured Cuban, rvhich is the eatest to the Spanish' we see how' as
*n go deepnr into the popular msses, the Spanish accent is lost and is blurred by
btuit l"nguag" used by the negro to !xpre his thoughts The same line must have
been followe by music and it would flot be difficuit for us to mention a series of
names of our most characteristic
cont mporary musicians in whom the environal tones
ofmusicandwordcoincideeveninachronologicalorder'whichprovestherapid
cvolutionachievedbyCubanmusicithecourseofageneratiolotinthetimeelapsed
fro the date we became independent
to the preset day ln the iine closest to the
u.hire tradition, which is inspired by the purest Spanish heritage as regards eleganc!'
<lelicacy and aristocracy of expresion,
an outstanding personality is Eduardo Snchez
de Fuertes, educated ir the colonial environmet and pupil of Ignacio Cervantes, who
live<i in his same enilonment and expressed himseif in the same language' Snchez
d!Fuentes'1hodoesnotdenytheincalculabledepthoftheblackroc,tsinourmusic'
corfessesththedoestotfeeitheminhisproductionsclosestto'hefricanorigin'
lmost the same coul<lbe said of the ptesent
generatiot' although in the opposite ex-
treme:thatoftheblackinfluence.Theyoungcomposersareitebriatedbythepictur-
esqueness of the blacks They perhaps also stray far from the middle point in which
the purest Cuban expression lies. It is logical to think that this Cuban expression
1i"" in thn spontaniety of the rhapsodist,
of the natural musician who has not been
contaminat by any school' who employs in his songs that symbolic phraseology
that is so much a part of us and is so profoundly expressive'
It is curious to observe how clearly
parallel is the evolution of our verbal and our
msical language. In those sectors of the Island where the Spanish is spoken with
a clearer accint
(*. refer to the masses) music also become more clear cut' We simply
needtohearsingersfromtheeasteltpaltofthelsland'whoseirrhabitantstakepride
in the boast that;hey peak a more correct spanish than in the rest of rhe Island. to con,
vince ourselves that their melodies also follow mole strict thyrhmical rule than the
Havanese.InHavana,wherethemeaningofwordsbecomesmoreobscure'notollly
in prosody but also in their more complex and profound intention' music presets
ideitical aracteristics.
LIpon an already syncopated rhythmical pattern the sorr
playersofHavanadravramelodywhicheludesallcontact\ifhthemsts1ient
-xI -
rhythmical outline which is in the strong beat of the mcasurc. nd, while the
eastern Cuban clearly tells us:
r-"
'a/
',
-arra'"/'"
-
the Havanese, morc maliciously. sa-is:
\
dis Ls ne-g,,rs /-D-or .a-,tb
,j.
,1
I
which is the libcration of a fiythmical strain in the Spanish-likc melody: or perb;rps
European wor.rld be better expression. An intuitive stylir,g rvhich, like languagc.
is the result of environmet. It is the muslcal style corrrspondinq to the prosodical,
It is curious to observc, and we have had the opporttnity to verify it in Spain,
that musicians rvhc visit us are surprised and thcy cndeavor to imitate this peculiar
manner of expre\sion
'n
mu\:c.
Religion in Cuba:
Such an evident mixtute as e have obsered in language is seen in another of our
spiritual expressions. which is as sicere end spontneolls as the formcr, bciqg an
ungovemable product of thc irrepressible expansive polver *'hich physical and social
environment produce in the collective sol, as in music that is, religious psychosis.
Hete also the Spaniard fuses ith the negro to protluce a ner,v and charactetitic co1ol.
The petsonages of frican nrythology ate embodied in Catholic saints to such a
extent that Santa Brl:ara must nolv bc placed at the medium point bet$'een her
white personality and that of the omnipotent Changci, thc black Jupiter. This is
true of San Lzaro. the Vitgin of Rcgla and thc Caridad del Cobre, our t\o nation
al virgins, which are also b1ack. an unquestionblc ploduct of Cuban religiours
sentiment. ifhey arc the symbolic
exteriorization of a social soul of an essettiall)'
religious nature. which in its desire for a ljfe hereafter refuses ro rccLpt rny c.rtain
dogma, and at times professes incompatible doctrines irr search of a divinity whicb it
is said, and never with ore corrcctness
fhen among oursclves, is eeryx,here. It is
the unconditional submission to the occult
nyone who has lived in Europe rcalizes horv dilfcrent are thc religious natures
of the merican and the European. especially in the countries of the Americas rvhere
the negro has mixed \ith the hites. Whence comes, thcrcfore. this tendency to deify
all that which is unexplainable? Lct us sec hot' the kecn scnsibility of out poct Emilio
Ballagas places our religious atmosphere in the fo11ou'itrg portiot of his Comparsa
. Habanera:
Se asoman los muertos l ca;iavera1,
En la noche se oyen cadenas todar.
Rebriila eI re1mpago como un flaia
Que
a 1a noche conga la carne 1e raja,
Cencerros y gril1os, gijes y lloronas
Cadenas de ahcestlos
' y sube la loma!
Bartacones, tachos, sangre del batey,
Mezclan su clamor en el guararey
Con luz de cocuyos
),
helados aullidos,
,t-
o-;/
-
,s
-
9t-ha--af
-
)zr- ac-aa
XII
anda por los techos el nima sola.
Detrs de una iglesia se pierde la ola
de negros que zumban maruga en la rumba,
Y apaga la vela,
Enciende la vela!
Sube e [,rroL
Abaja el farol
(rl
In European coutries lirurgy bal :1w3yq bccn bound to music and during ten
centuries
jt
rvas considered that music's only object !as to contain and gie relief to
sacrcd tcxt. lfhetr rvas danger that in the development of ptofne usic there
milht be rliscovcrcd a vassalage to nd not an identity betu,een religion and music.
The development of instlumental music definitely divided the fieids.
In the b1ack. thc two quelities fuse in a spititual flowering and the drum \,hici't
expresses the voice of Ecu is his incarnation before man. The rhythm isnow divinity
irself.
If in the United States. rvherc the negro!s lived in gteater submissio ad lvhere
his music was sub.lect to tbe influencc of a diametrically opposed race, such as pro-
rluced the Proreslant cboral; if in the United States, we repear, African rhythm has
succeedcd in doninating melody, hat could ha1,e happened in or music where the
fu11 force of the powerful vitality of the ncgro was untestrainedl This is the black
base of our rnusical rxpression from which springs our music, elthotlgh at times it my
acquire an cquivocal apperencc due to the influence of adaptation.
Spanish Influence in Our Melody:
\\re have attempted to demonsttate to lr,l)at unsuspected degree the rhythm of our
music my and must bc negro and we shall nolv endeaor to show the reason for th!
Spanislr influencc in our m1ody.
Before going further, let us remrmber the reason alleged by Dr. Snchez de
Fuentcs in clefelse of his thesis on tbe sLrrial of the primeval eieent in our music.
In Lurn we say that the songs lvith which our mothers lulled us to sleep in our in,
fanc1, 11g.1 Spanish origin: and if the voice wc heard in the cradle can influerce the
musical tendencies of a child, his play songs, in the age in which he avidly bsorbs
and treasures all ne,,v sensation. will undoubtedly bc the reaffirmatiorr of such in,
flucnce, Yes, a1l those songs are Spanish.
\ith
rvhat emotior \e rernember them,
ahys ne\y and alrvays old, when rvc discoer them ir the Spanish folk song books
from the far oIf mother countryi Each and everyone of them are
jewels
of Spanish
folklore.
This folklorc ancl that of Russia is the richest in Europe. Its wealth consists
above all in its modal variety, taken from the Gregorian chant. transformed to Mo-
(l) T!. derd !trdI i rlI.trncl.lds,
L nisli drtrssin:l r]]trn,s ie hcaid,
Lis6lnine llisbe5 iL. a r.zr l,hd.
Wlri.[ slns rfu ricsh oI rhr ro,qx nilt
Cr'bdls rrd .ri.ks id Nriline vo,rn
Ch,iD ol iDc$o6 nd up th. irilll
Btrr.Ls. boil.rs, t,ld oI .npounds,
intenninllt t!.n .ltrflot
j.
th a!,.arU
\vrL lisnt oI lighrios truss trd nv hrk,
I lne sonl trtls dr roofs
B.hind .Iurcn is 1.1 the rvrr.
ol nesroes {o
Fltry
rtrles in r]t n6r.
i\nd rnr olr dr lardlc.
XIII
-
zafibi. i Spain.
s this is an exclusive characteristic of Spain and Russia the most
f"i.*"if"g ata to determine the Spanish
oot of our musical expression lies in the
finding of these aiious modes.
slight knowledge of the songs of the Cuban peasant brings the relizatiot that
his meloy is bsolte1y opposite to that of the negro who can be said to hae no
other voice than that of his drums (we are referring to the frican natie) If the
elements of out music are either negro or Spanish' lhele i no doLlbt that the Cuban
peasat's song is an echo of Spain.
nd' if we also observe the instrment with
ihi.h ,hn pea-sant accompanies himself, the sound register in which his voice moves
the color o? this voice anl the dynamics of the song, we cannot blll associate it with
the sirging of ndalusia which \e are hearing so much lately in Cuba Note hou' evenly
is the dialgue betwee the voice and instrument
(and the instrument is typically Span
ish), one complemerts the othel. Lastly observe the ending of o:ut gwjias ar'd pun'
ros, al*"y" oi the dominant. This is the most interestilg data in our opinion
lmost as soo as \4re start otrl obsevation,
we see that it is not a simple semi-ca-
dence to again return to the totic but that tlre final phrase is a definite cadence Our
filiation t the present restricted mode of major and minor may make lrs desire a tes-
olution on the tonic. Proof that it is an unaccustomed cadence is that upon falling
on the tonic to resolve, our disappointment
flot otly does not disappear but iclease'
The fact is we recognized ourselves ircapable
of equitably stisfying the demands of
orrr emotions and of our classical education.
If the formet triuphs oer the ltter'
we decide to remain on the domiat.
Our peasant cadence is a derivation of that of ndalusia:
which seems to be a semi-cadeoce of minor. but which in fact is a cadence of ar E
+_
tonicofthePhrygiln."d..FffiOurpeasant,\.ithout
attaining the completeess of the ndalusian mode due to impositions of our modern
musical structure, cofltetts himself with conserving its cadence
which is inborn in him'
On the other hand, the disciplited musician, endeavoring to conciliate his thoughts
with classic rules, must resolve and does resolve at times olr his tonic, adding a coda'
foreign to his expressive sense, which should be reaffirmatie, to the final phrase of
the piece.
Let us add to this data concellitg the determinatiot of the origin of the songs of
or peasant, the fact the peasants of the Sierra Maestra still silg Spanish rondelets
vrhi are trnsmitted from generatioo to generatiorr. The melody has become accli-
mated to our atmosphere but its origin is unquestionably in Spanish folklore' One
rondelet says:
Yo soy aquel
que a Josu
Los Santos Oleos 1e diera,
quel que nunca creyera
y el que meti6 en e1 coflvento
los siete infantes de Lara.
{'l
( I
)
i a tie one {l1o t. .loshui
lpplicd tbt l.s oinmcnts,
He rho neer b!litcd
nd ? who Pnr
in a .nvert
Tne s?n infanB f L,rtr
-XIV-
We see the Andalusian cadence used frequently in our compositions conserving its
typical succession of fifths, but already lacking its proper modal environment. s an
example, see the introduction of Sola y rrlste on page 1 16.
mong the oldest documents referring to our music, which have been consetved,
although dating only from the year 1803, is the San Pascual Ballr contradanza, In
its second part therc is a slight strain of the mixolydian mode characteristic of Spanish
folklore;
If r\,e accept the fact that the frican negro melody was very rudimentary, il
lvould not be straage that all material which colors it so characteristically, at least
apparently, should be taken from the Spanish gamut mode, as would happen with the
Dorrc sixth which is frequently used in our fro-Clrban music and in Spanish music
also. See an example Yambamb page 148, in which in a g minor Key, the e is
always natural while. in the six-eight part the I aturl seventh degtee of the scale
at a lvhole tone distance, reveals the character of the mixolydian mode. If this is
negro, tllen frican melody was not so tudimentary. But it seems more logical to
believe that our Spanish-like musical organization has found in the negro ambient
an exparsive opportunity which classical rules denied it and proceeded ro interpret the
frican by expressing its most profound feelings. It musr not be forgotten rhat the
Spanish folkloric treasure is prior to the XVII Century. During the Renaissance
Spanish music began to feel the influence of the polyphony of the Flemish which re-
duces the modal field urtil eerythitg is constructed or1 our pteset major ad mior
modes. nd in this might lie the force of fro,Cuban music, ir the combination of
a melody moded in tbe Spanish manner with the forceful African rhythm.
Fina1ly, we might add that if the Spanish strail is prcsert even in the melodies
which pretend to be negro, the marked Spanishness of some Cuban composirions musr
not be considered s a result of an outside influence. but rther as a resurgence of our
most legitimate racial sediments. If the true Cuban music is the point of cortact of the
t,,vo lineages Spanish and Negro any retrocession toward either may be considered
as an exaggeration of the Cuban. This !xaggeratio is found in the composers of the
past geteration who leaned toward the Spanish; the present day composers lean to-
ward the negro.
Specific Rhythmic Characteristics o[ Our Music
Going only slightly into the rhythmic structure of our music we find that all its
melodic design is constructed on a rhythmic pattern of tlvo measures, s though both
were only one, the first is antecedent, strog, erd the second is consequent,
weak. This happens not only in iustrumental but also in vocal music. Our songs,
lvhere there is more reason for melody to extend its wings bove the yoke of thythmic
isochronism, shows this in the t$,o four rime as do those of six eight time. This adap
tation of the melodic coacept to the rhythmic pattem is marifesred in such a manner
that the change of a measre in the percussion produces such a flototious discrepancy
bet\een the melody and the rhythm that it becomes unbearable to th! ears accus,
XV-
tomed to our music. This is rvhat Cubans, employing a very graphic term, cell qell;rEI
in the utatl (atravcsarsc). :lhe rhyrhmic pattern is the follorving:

,[1^I] I
,
n
,
I
ancl in six eight:
! ,l f l I ll nl
l;lvhichthe Spanish write:
I ] Il ll3llll
with rvhich the concept of the composed measule becomes more evident. ifhe melody
clocs not a lrva ys commence with the accented measure:
[ ? J]1^l-1 ]; tl ]I
ll
but thc stressed timc of the accented or grave measure must coincide rvith thc support
lng point of the melodic phrase. When this is preceded by other notes, these are
considercd s an nacrusis, ev!n though thcy hae a longer duration than a standard
measure. \\re har.e as an example the first phrase in the mentioned Sen Pascual Baildn
contradanza: i['he point of support of the
melodic phrasc is ia the ,B of the second measure
O
and thc preious
fragment is rather an anacrusis of that B. If rve desire to rhythmicalll',rccompany ir
rve would have to consider it as a rreak part or alsis, so:
l fl
rl
This anacrusis is
al limes accopanied as a means of rhythmical preparation, marking tbe tempo of the
measure, by lvhich the syncopation of the first measure of the rhythmical outline
accents its expressie value. See the lollowing fragment of EI Manisero by Moiss
Simons as an eranole:
Thc rhythmical preponderance is follot ed even i the style which at first glance
appears to have gottcn away from this rule through the rhythmic pattcrn of a single
measure which accompenies it. W-e refer to the hdbanera. /c coulcl leave out this
accompaniment and the meiody alone woulcl continue being an habanera, *hose
character is due nore to depth th form. Our best composer in thie genre, Dr. Sn
chez de Fuentes, has produced habaneras without employing their traditional rhyth-
mic clrrrL. l-'J l"l I
s an examplc u,e may cite his habanera Cubdna anC, La Bella Cubana
t,''
b:, J.
/hite.
In the six cight rrreasre rl.e may take s tn example a zarandillo, s, specie of Guajita
of a Spanish work of the beginning of the XIX Century which is, therefote, contem-
porary rvith thc mentioned contradanza by t,hich rve provc how the Cuban expres
sion, rvhich was perfcctly defined at that time, was capable of influencing the com-
posers of the Mother Country:
I ,D ,r
L; ,l
sl.ca-e,-/to zo
-
a //t yo
-
d'-lb ra-,a
-
d, /b ao a-/lctat
-
2., z- 1/o a1- d,-/!.)r.- c..
or oltt Zapdlea:
(11 Ihr turrrilions mrrl,.d
"r"
donorapp.a' n this..11(Lin. lh.r ]Ir. bc.n putrlisbtd in f(isn coun
. nd . Ln"rn .o L. 'e d.'
I
-XVI
nd to remove any doubt that tbis rhytbmical chatacterisric docs not bclong ex,
clusively to populat music, since the composers devoted to a higher art also follow
this truly national charcteristic of ours in their u,orks, we have the principal theme of
the Obertura Cubana by lejandro Garcia Caturla:
in rvhich the melody, coitciding in accentuation with the rhythmical p.rttern is con-
ceied or its form and guide.
(')
The alteration of the rhythmical ordet is of abso
lute anti-musicality.
But tht reguir encl isochroric succession in the accents cf the melody at times
effects the logical resolution of the periods or phrases, ard rhen we sce ho\\, the metric
quality of thc melody is altered or the rhythmical succession so inherent to our ratrue
is interrupted. ilhis bappens frequenrly, even \a,ith the most Cuban composers who
generally faor melodic intcgrity. /hen the same composition passcs ito popular
hands, the rbythm almost alrrays recovcts its predominance. In the language of
the people this is called tueLer en [()s prlos. (to put into the sticks). Let rs exmine
an example in la Neqra
Quirina'by
Moiss Simons:
Even though the rhythmical ccent fal1s on rhe fifrh measur. nd corresponds
w;*t
f]^fl
, ac.entecl measure of the thythmic partem. the author nomentarily
falsifies the rlrythm to be able to coincidc
,,r.ith
rl:re most chara.teristic rhyrl]mical
moment of the phrase, rvhich is its lasr measure (elevenrh). So u.e havc that thc
first six measutes of the oice are practically at.aaesadas (in the rvay).
lrly'hen
this
part is repeated in the chorus. the rhythm accent Iogically falls on its corresponding
melody, but h.hen it reaches the sixth measure (of
the chorus) the melody is again
atraoesadd in its rhythmical succession and continues so until the enC. Many example-;
like this could be cited.
The Claves:
But, !hat ar!tlre palos (sticks) to which we have previously referredi They are
ot claaes; two cylindrical pieces of wood which when struck gainst each other
produce a sound ery like that of the wooden block, whose quality makes them stand
out boe all thc sonorous group, which it dominates lvith relentless aurhority. The
c/dues incarnate the rhythmical tyrany of our song nd, breaking dorvn its imta-
ble formula, lead the steps of our dancers t ho follow the c/aues as closely as the shadow
foilorvs the body. This explain the fact that the spirit of the dance ahvays predom-
inates in our music. nd, if rve can say of Spain that the people there sing because
of the essentially melodic character of their expression, \-ve ca sy of Cuba, as well
(1) Ttre Pbrsirn ode may
rc .nd d.src. . niral ppeas
ako be bs.r.d irrt, rs iin rbe n.lody o. i p.dl / rnn nd doni"nnr ol ,
t r disran( f s.ni rone fror !!e tnn, vhik r!.:..nrh d is trt hole tone dnrn.c.
XVII
as of all the Americas, that rve are a people rho dance, perhaps as a manifestatiol of
the unbridled dynamism in which humanity is living at present.
If we have gone deeper into this matter than sees
jstified,
it is to our interesr
in bringing out this rhythmical characteristic which is the basis of all music in Cuba,
in our opinion.
'We
can speak only on hypothetical gtounds concerring the origin of these repre
sentative rhyths, but observing the transfcrmation rvhich Spanish style has suf-
fered on bcing trasplanted to our soi1, we can logically believe that the six eight
measure r,vas
used first. In some samples of our genre, especially in the guerucha, we
frequently find a thytbmic sequetce \hich demostrates the dapttior of the trvo
four to the original pattern of six eight. This sequence is:
r tlx I
r ,1 l|i rR-lT] I
"n"
I
in ,hich the trvo four seems a resolutive repetition of [he motif ir six eight. nd
here
,,ve
have the most characteristjc rhythmical expression of Crba: the cinquillo,
u,hich is represented graphically by the composers in different manners in their desire
to ttain an interpretrtion more suited to the true sound. First it is wrirten:
IT[I1
and later
ffifl1
. To the natives of Cuba in whom this rhythm has already
become iaborn, its interpretation offers no difficulty. The foreigner, preoccupied
v,ith the adaptation of his olvn feeling to that of our music, according to his concep-
tion of such music, exaggeratcs the accentu3tion, and the rhythmical pattern becomes:
----l
Thtr i. r,
"v
(omeco'rpo5(rsu'rrteour.inTuilr'o.r\io;lo\s
j-
*r-1.,,*.
.,,,.,]yvllll .""*"i1IIi
or:
I I
j
I I
I r cf,n c.lsily bc secn how the accented measure of out rhythmical
Y*{,lll
ptt!rn
jn
rrvo four (,[.
1-I |)
i, a simplification of rhe cinquillo in which the
rveak accents have been omitted and which, on the other hand, are nderstood by
those who h\,e penetrated the sentimcnt ot our rhythms:
El
I trying to
make this rhythmic figuration more comprehensible to foreign sentiments it has also
been r.rrirten;s
a rriplct in qulrrer no,..,
I lll
oralsoin rhismanner: I-T-1
; { I I
*. *. *
We hope that the claues which are hcard outside of Cuba and which erc irrcspon-
sible in foreign hands both in the orchestras and on paper, rvjll effect their prepon
derancc in our rnusic and assume their
just
role of guide both in the interpretation
and in the elaboration of our musical thought.
Genres o[ Cuban Music
The first data lve have on the music of Cuba is provided by Jos Maria de la To-
r re in his book lo oue f uimos g lo que somos ot La Habana antig ua
q
modetna, edited
in 1857. He says:
"Te
first reports we have of music in the Island are very
unfavorable; it being sufficient to note that negresses sang in the churches and that
among the istrumepts used 1as the
9rro
which is sed today ir the.hangis ot the
country." It is the negro and his rhythmical influence in our music which is ia evi-
dence since the days in which our history began. Bachiller y Morales tells us of
-XVIII-
the zutabdntLa and other dances of the Mother Country and which must have been
danced in Cuba during the first yeals of the colonization, and also alludes to certain
songs of *,hich he can only mention thcir names. And, lastly, Hernando de la
parr:.
refetrirlg to the periorJ from 1568 to 1592, tells us tht
'the
daces nd diversions
of Haaa were plesant rd extragat and conserved the roughness and lack of
culture of the Indian." To the same rvriter
.*,e
owe the names and class of indivi,
duals composing the only orchestla of thc time. It was composcd of fivo Spaniar<1s
(violia
and viola), a Portuguese (clarinet) ar,d the horra free negress Micaela Gin2,
who played the oigela. These musicians usually took their accompanisrs to scratcl.r
the calabazo ard taiiir the castagnets. Here again we hal,e th! ncgro participring in
Lhe bcginning of our musiL.
The Zapateo:
Concerning the Zapetea, rvhich rs sti1l the typical dalce of our peasants, de ia
Torre says that its origin seems to lie it the manthegas of Castilla la Nueva, assertiag
that \hile hearing some runes in aa Mancha he seemed to be hearing the dolorous
dl of our peasanrs even though they lvcre accompanied by thc guitar instead of by
the p(oilcial tipte.
'|he
dance is executed by couples, man and woma facing each
other some distance apart, marking the fluent rhythm lvith the feet and kceping the
body motionless. llhe heel strikes on the floor, rhe short sreps o the dancers anl
the rhythm in general of the gestures $,hich accent the dance could be no more clcqucnt
as regards the origin of this dance. In i ts entire ty it is a va ria tion of the choreographic
erpressiofl of ndalusia. The dance givcs \,,'ay ro the sorg of the peasant rvho
entones his dlama accompanied by the tiple and the giro, insttuments with whicir
the zapatea is intetpreteC. The rrple is at time substituted by the bLdurrid ot with
the rres which is similar to the gitr afld has three double strings. llhe grro, a sp:cie
of long squash, dried with a hardened rind, amplifies in its hollow interior the soun:l
produced
by a finc \vand of hard substance when scratched against transversal cuts
made on the surface of the grrro. See example of Marin V arota Zapateo taken from
his lotpoL.rti Cubart
-xrx-
The fact tht t]ne zapateo irterpolates
guajiras ln the dance supports the supposi-
tro[ that the guajia already existed independently of the zapateo. The same may be
said of the Cba\) punto and of all generic gamut of the songs of our country fo1k,
which havc a wide variety of expressive shadings and of rvhich the professional musi-
cian of the natior's capital know very litde. :fhe briefness of this article does rrot
allow us to go iflto this matter extensively although it is worthy of ful1 discussion.
We shall, however, m!ntion two examples which are genuinely peasant and have a
marked folkloric flavor. Compare them with the pieces appearing in the collection,
of pesant character (pages 10, 84 and 161) but which have been subject to rules of
form achieved with detriment to the characteristic fluidity and spontaneity of our
peasant sogs:
(arcti;a) @ Da -
pw- /a,la- le-a
-
2a l"ea
-/o
va-//a
-
da
-"s
la -qzz-a lo
p.- /rc-..
-a
Ya-1la
--
-l-2 1 a.
-
1 ztur-a? d41qe-2
-
da
rtf!LsL-D
a-a;- de
-
a-a o. rD.>drd- ctr
'$/e
have alreaciy spoken in the foregoing pages of these me1os.
The oldest document which
ryve
possess concerrg our music belongs to the con-
traddfiza, that is, the Sdn Pascual Bailon already mentioned in these pages, dated
1801. The contradanza rs of Errropean origin but was acclimated in Cuba, subject to
what iflfluencel Jos Maria de la Torre affirms unmistakably:
"The
contradanzd
music is still admired een by foreigners, and !hen it is composed by the colored
people it has more popularity among the atives. V/hile lve vrere in New York rve
became acquainted lvith a Italin professor of music named Velleti who greatly
loved the Cuban Contradanza and t ho used to utge us to play them cotstantly. He
himself played them \ith admirable taste ad perfection \ithout ever having beea in
Cuba. He used to sy that it was a music of singular accompaniment and full of
1ife, animation and pleasure." It was even then a Cuban specialty which had lost its
original features to the point of seeming uncommoll to an European who enjoyed
-xx-
the disc.very of tht nerv expression. What was this odd qualityl He sid it \a.as
the accompariment
"which gives it lif and animation"; that is, thc rhythm undoubt-
edly superimposed by the colored people.
SAN PACUAI] BAILON
CONRA.DANZA
f--=ll,
--r
In the example which we give, the melody has that sttain of Spanish mode of
which we have previously spoken and which we would not fid today in any genu-
inely Cuban composition; but, at the same rime, it already appears outlired on the
same rhythm pattern of the present claues which govern our song. It is, therefore,
a natie prodnct in which the white strain is the most ostensible. The zarandilLo
which we have shown in previous pages, taken from the work of L6pez Chavarri
Populat Spanish Masic (page 93) belongs to the same epoch. Chavarri says:
"La-
ter the Peinsula (Spain) was ilvaded by the Napoleonic armies and the tremedous
crisis awakened the natio's patriotic sentiment, causing the revival of pure forms and
styles of popular music: songs and dances of the masses, memories of totadillas,
outpourings of the peasant spirit rvhich we11ed up again with gr!at vitaliry and are
the intense pulsation which still exisr in the nrrure of all Spanish regions. To them
must be dded the musical influence from merica, in mary cases of Spanish otigin
acclimated in merica by cofltact rvith the music of the country or with the music of
the frican slaves transported to Spain." So, when the first record concerning the
beginning of Cuban music appears at the end of the Eighteenth Cetury and first
part of the Nineteenth, t/o of u.hat u/e may term the threc forms of the present Cuban
music had been defined: the peasant, which conserves the most pure Spanish essence,
and the urban music, in the ballroom dances, we might say, where the Spanish accent
and the already adapted rbvthmical sp:rit o{ rhe negro luse in
joyful
exp.es.ion.
ll'he third form had its origin in the naturally musical nature of the frican, how-
eer rdimentary, and must be considered in fact as prior to the second form compris
ilg the ballroom dances. This third form follows a process inverse to that of the
second in which the Spanish coflstructs its rhythm under the auspicies of a negroid
spitit. The negro, by norr Cubanized, constructs his melodies, which were barely
outlined by his ancestors, with a more Spanish-like amplitude. They represent the
veiled complain which comes from the slave quarters, refined by the merican
environment on cotact rvith the colonial melos, intended for Spanish ears and arisin3
from an imperious and well defined desire: the desire for liberty. It is no$r the Afro,
Cuban u,ho explorcs, cptrlres and conquers in the realm of the white where the seed
of another independence is still latet. The unrecognized power of that hidden
-xxl-
restlessness fiflds its ttuest expression in rhythm The rhythm, rvhich materializes
ail the religious abstractness of the flegro, u'hich is the divine force and voice, invades
cverythiag: penetrates and subjects everything to its all-embracing domination' This
i. *,lry.
"liho"gh
m"sicologists, such as dolfo Salazar, believe that
"tb'
negro is n
element superimposecl ia our vernacular art," it my be asscrted that even whel this
may be apflicable to melodic expression' thc epidcrmis of nusrc
lu'hi'h
has not
t"." aif"i"a by thc most profound cxpression lvhich came from Spain), the spitit'
,hich is the mold containing and giving form to this expression t'hich is airead
ours. is negLo: likenecl to vengeace of the spirit ovcr matter'
It might be asserted that t the time when Jos Maria de la Torre wrote his book
{ 1857). the fro-Cuban style, as '! call it roday, had already produced its most
characteristic genres among 'hich $'e ust prelercntially ficntion the claue lf the
uthor of $/al \Ve Wete anrl What We re does not rak. y mention of thc
egro. it most surely is due lo the
jnfluencc
of thc same prejudice
"vhich
makes him
staie that it rvas not favorable to our sic to hae negresses singing in the chrches-
The claxe in its origin rvas a composition to be sung by choral
groups' accom-
panicrl by rhythmic insttuments
(such as drums, rattles, claves etc
)
u'ho fotmerly
*ent from pi"ce to plrce thlough the streets of the city. Thcse groups were composed
of negro slaves who iete permitted certain days for this
joylul dcn, onstration Tire
nlost outstending date was King's Day. Men and rvomen, earirlg colorfrll costumes
keeping in correci formtion, t'ou1d go thlough tbc treets singing the songs ri'hich they
h^i p."parnd and rehearsed as a cho(al group of popular character rvould clo The
group. themsel",e" were generically knorvt s aldoes. u'hilc cach group had its own
p".uii", rrr*n, genetally taken from the aninal kingdon dBe to lhe rrvcrent ttilude of
,1r. nngro ,o*oil nature. See a Ciave Song of a group hlor'vn as thc Bibijagtua wbich
rvas sung in the last third of the past century:
I7--------l
,tn -b, ),
6"@r-dr
62 .
t
te
-
oi ,t --aa
h gua d ,a
J.
de
'We
now catalogue our getes within each of the three stylcs into which rve might
separate Cuban music to make them mote undertandable. The degree of concentra-
tion of eacb basic element is not necessarily the same in each genre. but theit classifica-
tion in each of our three groups, in our opinion. is unmistakable.
Thus, we place our peasan[ r:u,sic zapateo' guajira and punto, 'ith all the varia_
tions ad sub-geres which the singing peasant employs, in the border of the Spanish:
the habanerd al,d. catcin also fall under the classification closcst to the Spanish' In
the group closer tq the
fricat we would place, foilowing a descending order from
-
xxII
-
the negro. first the songs and dances of thc Afro-Cuban ritual, in which th? bemb
(oration) genre is properly cultivated, and that of the Niigos in Cuba: the frican
tango generically kno\ as drgo congo. the canga, the songs of the comparcas, the
claoe ard the ru1bd. Il this sector of our music the same thing has happened as
related in discussing the songs of the peasant; elso, .hen we rcach the lowet social
strta of the egro \e find a series of genres not cultited by our musician but which,
neertheless, should be carefully studred to determine iI the negro is in fact the tiuflk
of all our rhythmical branches. Lastly, in the form group r.r,hich we rvould classify
as second because the influence of the t\ro racial contributions is more equitably
shown, we would place: the controdanza, the danza, the ddnzfi, aild its arint the
danzonete, the soa, the bolero, the ctiolla, tbe guaracha, the preq.jn, the ballroom
canga and the cancin itself, rvhich offcr an infinite variety of sh:dings.
Genres Bordering On The Spanish:
Regarding the zapqteo, the guajira and the Cubar punro, !e have alrcady pointed
out their chracteristics. In conclusiot, we shall say that the purto has al!ays been
rvritten in a mjor key, whlle tirre guajira gencrally has its first part in minor and the
second ifl major. llhese genres are writrcn, except in vcry rare crscs, in six !ight
time, See El Arro,4o
Que
Mutmura, Paisaje, ar,d. Junto ul Rto on pages 10, 84
and,763.
s an adaptation of the peasant to foreigr genres, see tine Lamento Cubano, Jun-
to a un Cafraerdl znd Coft1o Arrullo de Polmas (pages 106, 108 and 101) Inthe
latter. the first part is impregnated
.,vith
the country enironment described by the
\ords. Within this first group there might 1so be included Gonzalo Roig's Ojos
Bru
jos"
.
The HBNER is oossibly the most universal of our musical genres- This is
demonstrated by the Spaniard Sebastin Ytadier and the Frenchman Jorge Bizet,
the former being the author of La Paloma arrd the latter of the bealrtiful Habaneta ot
his opera Carmen. The fitst composition is considere<l by foreigners generally, and
particulary by North mericans, as typically Spanish to the point of adopting its
rhythmical pattcrn (
Ll fl I I )
, rvUcl is the rhythmic chart ot the habaneta
when they desire to give a composition a Spanish character. We, the Cubans, do not
knorv what ationality to assign to La Paloma, and, if v,e rvish to consider it as
Cuban, considering that Yradier resided in Cuba some time, we could only do so by
virtue of naturalization. The rgentines. although at present they seem to endevor
abandor the original form, constiuct their tangos on the samc rhythmical pattern of
the habanera, It may be said that Carmen s habanera is more or lcss a Spanish tan-
go and it may evea be asserted that Bi7,et did not attempt to depart from the Span-
ish environment even in this brief instant. That is, he considered this genre as char-
acteristiclly Spanish. Otherwise, he u,ould not have employed it in such an out-
standing moment of his opera, which is his master work.
(')
But ea habanera whicl1
has conquered far olf regions and ptoclaimed the authenticity of our most legitimate
expression more than t]r,e habanetu Tu, by our ost Cuban composer Eduardo Sn-
chez de Fuentes, has never been
.,vritten.
Because, as we said {,hen referring ro out
inost characteristic rhythns, the essentially generic of the hdbanetu daes ot live
jn
the
(l) It is s*rtcd nrat Carcn's l/.rd,.rd is n arrnsef,.nr b Bizet !I e son8 .omlosd 1, Yrrdi!! dlring t!. rinq
Bi-e.
'
a 5r\... r'hii fo, r rl.rme lor hL op .
-
XXTIT
-
rhyth of the melody, but in the spiritual quality expressed in its soft, sweet,
graceful variations, like the language of our patricians, impregnated with the spirit
of Spain, rvhich is the constructie source of our race and from v,hich seemingly u,e
are departinj, propelled by our dominating geographic forces.
Various opinions are held regarding the origin of the habanera. Felipe Pcdrel.
eminent Catalonian musicologist, points out a very significant similarity betweer the
zortzico, Basque air and the habanera. Sr,chez de Fuentes, the compositor who has
cultivated the habanera with greatest success in Cuba, denies this similarity between
the habanera and. the zortzico and
^tibutes
to it an ascedetcy rvhich originated in
the Cubafl pre-Colombian musicians. ilhis thesis is sttengthened by an assertion of
D'Harcourt in his book Music of the Incas. ccording to D'Harcourt, the rhythm
structure of the habanera (IlIl
lJ )
is found in thc music of the Incas and, as
he also finds it among one of the oldest people of Asia. he considers it of siatjc
origin. We know that the Indians of the American contiflerrt ate descendants of the
first Asiatic peoples lvho crossed the Bering Strait. If, hou'evcr, wc accept the theory
that our melody is constructed on a Spanish-like spirit. it might be that o:l]r habanera
is a adaptation of an environmental or regiolal musical productio to a rhvthmical
idea already existing in the musical treasures of Spain. The simplicity of this rhythm
also suggests that it mtry belong to tbe sphere of universal ideas. We repeat that, in
our opinion, the essential generic characteristic of the habanera lies more in the melody
than in its rhythmical pattern. Eliminate this rhythmical pattern from the genuinely
Cuban habaneras and the expressive sentimert of the melody will continue revealing
the characteristics of the habanera in its phrases. The habanera Cubana" of Srchez
de Fuentes, as well as the Bella Cubana' of White support this assertiot. Its rhythm
structure may be considered as its cretivc guide, but if the composer is not imbued
with Cuban feeling the product will never be an habanera in the most strict sense of
the word, as its spirit lies in its environmental shading.
The habanera was also a dance, althougir as such it disappeared from our lsland
a long time ago and, while it is r.ritten also as a song this phase too is dying out due
to the lack of atmosphere which it so faithfully reflected: that of the sccond half of
the Nineteenth Century. Some compositions ca1led songs by their authors are never-
theless real habaneras. S F[or de Yumur ot (page 42). Others, such as El
Qui-
trin,by the same author, Jorge ncketmann (page 38), employ the chracteristic
movement of the habanera to describe the rhythm of the Cuban period rvhich it so
graphically synthetized. On page 4 there is also the habarera Tu.
THE TROPICL \I/LTZ. The Vals Tropical',vas, as a dance genre, a con-
tempcrary of the habanera, expressing an environment similar to that which origin-
ated the habanera and it has also disappeared.
The CNCION. Due to the wide meaning ot the tenn cancin (song)
, which in
reality comprises all compositions written for solo singing, it is difficult to determite
exactly where the genre of o'rt cdncin properly begins, and !here those which also
use the oice and rvords as means of expression ends. We may, ho\ever, guide our-
selves to determine this by the fact tht some of our vocal genres originally were dance
forms, some of which ever belong to both. Really, all our dances may be accompa-
nied, ad at times they are. by the voice and words, from the habanera to t]ne danza.
'fhe
cqncin must, therefore. includc tbosc composilions which originated indepen-
dently of the dance forms and which at times seem to try to escape from the t(alr1ty
-xxIV-
of the representative rhythms to which all our musical organization is submitted See
,.
"""-pi.,
Conlesin, ot page 75, whose melodic development, ing!tuoLls ar dmes,
is impregnated by the purest Cubanism, and also Es el mot la tr4itad cle la Vida,
on page 7.
lJnfortunately, the predominance of
reduces the possibilities of our composers,
prolific in this fie1d.
I
the dance oet the cancin increasingly
especially the intuitive type who been mole
The historical artecedetts of our crzncrda has perforce to be far off if it is considetcd
that tlre guaji was already a song which opposed by contrast the rhythm of the
d.artce 1t the zapateo. therefore, as a typically vocal genre, lvith envircnmental charac-
ter as much its own as those which had already been acquired in the dance Jos Maria
de la Torre also tells us of
"some coDcioaes of no earr metit", contemporary of the
rcfi]r,te zapdteo, concerning whjch he rvrites. It is, therefore, of no importace that
tl.re te1: cancin, it the definite genetic sense we are no\'giving it, rvas later applied
to the sogs which EL Regafrn dLe la
Hobana metions irr the year 1800, such as la
Morena, El Cuando, La Cucaracha, Que
Toquen la Zatabandina etc.' which had
picturesque words certinly adapted to the a]Js of the danzd. But up to the Eighteetth
Century, in which the fashion of the bell canto rr,vaded the Island as an echo of Euro-
pean developmets, the cancin djd not attain a social category, lve wili say artistic,
permitting it to rise from the street to the salon. It is probable, ho\t/evcr, that the
purest of our popular sentiment thet
passed unnoticed by the elile who livcd in a false
culture which they did rrot intimately
feel Thus, the first songs rechig us through
th! press are influenced by such a marked
Italianism that today \ve cannot accept them
as the sincere expression of our people. See the first period of La Corina' cancin ot
the year 1820, rhich seems take from
an Itaiian aria.
/i
-a\
cat
-
le
-
f del pe-te,,/ tJe zz-a. -"a
the same of ad Mano, rvhich begins:
/a
-a-la
h
-,
We could say
But this Italian influeoce reaches us, as rve have previously seen' through Spain
itself, u.here the Opera had attained such domination that Italia singers caplivated
the royal will \ith theit voices, as did Farinelli, intimate of Philip V and Ferdinand
VI, who influenced public affairs and the musical evolution of Spain. Ldpez Cha-
varri tells us of this influence:
"The
divorce bett'een popular and couttesan arts lva
absolute; the invasion of Italian opera then took place, rapidLy obtaining possession
of cultured audiences. This itvasion was later to harm the deelopment of nation-
al art. ilhe soul of the masses took refuge in the tonqclillas ad transferred to them
the songs and dances which \ere rrot aultivated in urban environments."
If Cuba's culture was guided by irradiations from Spain, where the traditioil of
the Victorias, the Guerreros the Morales, and the Salinas existed, and where cicspite the
existence of the fecund root of the richest musical folklore of Eutope, Italian irtuo-
sism smothered the national accents, let us consider what happened in our land where
eerythirg 1ns still ir a formative period. It is not strange, therefore, that if i the
Mother Coutry the soul of the asses took refuge 1t the tonadillas as the most
ta na-io ca
-to
d. 4
qd-.
-
da
-xxv-
accessible means of expression, in Cuba the repudiated melody of the people and the
irredcemable rhythm of the slave should
,fraternally
unite. Note the differerce
between the canclones mentioned, which are affected and false notiithstanding that
they are models of the period, and tbe sincere grace $,hich charactcrizes the contempo-
Qty conttudanza. It lvou1d not be venturesome to sa), that such a notorious sub-
serviency of the cLtncin which struggle in vain against the tyranny of our rhythms,
ras bor in the moment \hc, defeated ad battered. it submitted to the African
rhythm, to *'hich it surtenders its liberry in exchange for an opportLtnity to survive.
Ia its negto refuge it struggles to return to tbe clear light of its origin, but it cmcrges
with a tattoo of claoes, the umbilical cord rvhich unites it to its a1ly, the
African. Thus the cloue is emancipatcd, survrving in the cio
(1l'hile
the 6o1ero en-
deavors to shed its borrou'e<l costume. becoming slower, more of a conci<jn u.ithout
attining anything other than becoming so slende( that its costume is uncomfortable.
The criolla advances further tha the 6o1e.o on its roacl to freedom, allied to the
peesalt song which maintaincd itself at a Cistance from the operatic tinscl. See the
deliciously ell,totiye \,!'orks of Sindo Garay's Guotina and, l-a Battamesa and that of
the very Cuban Gonzalo Roig, fi11ed *,ith the perfue and freshqess of out counrry
morning. Ofos BruTos, or the romantic and tender plaint which arises from our almost
sickly sensualit), in Mi Canto Eres Tu. by Jorge nckermann, (pages 12, 15 and,46) .
'fhe
bolero nct oly becomes slower so that it may be sung easieL as it Ld Ciep-
tmal7a (
page 1 1 0
) , attempting by diverslor to elude a rhyth which interferes
r,r,ith
thc melodic interest and is unnecessary as the melody is built on its most outstnding
accets, but associates itself with the crlolla and even
q,ith
the cancin to atteruate
the harshness of its rhythmical yoke. This is true in ora
Que
Eres Mia (page
167. $/e ri,ould not say the sari,e of
Qu;refie
Mucho' ot of Como Atullo de Pal-
rros, becarsc the bolerc lives in its own environment r,"'hose characteristics ere that
grace, intrnscendental, u,e might 6ay, lyric, lacking the dramatic shading u.lrich is
more appropriate to the romartic cdrcidr.
Imbued with that romarticism, aithough always with Itlian onaments, is Isabe|,
nhich is alruays r!membered with melancholy by our grandmothers, as it marhed an
epach ii the last third of the past century. s an exampie:
The patriotic cancin had already led thoughr irto more sin.ere manifestations
and the banal foreign Italian style, \hich reaches its height in the grotesque man-
nerisms with hich our troubadours emphasized it, began to dec_Line. This Italian
influence rvhose essential characteristic, s 1\.e said, was the vocal virtuosism. had
overloaded o. concin u'ith the melodic flourishes of such style. These flourishes
,,vere
almost aiways dra\n o one sirgle syl1able. ahvays rcpeated, which in 1so6el
or in another canc/cin *'hose first
"+
da D!qr,la - .
part ended:
-
xxvl
-
ihey ended:
a" ii
-,-.)
q-qa d ir a'"' -
";;'
So, the popular voice. while boastiog of
an understanding of that which had previously been considered as culture and tlying
to improve its purest sentiment, merely thre ' the falscness of the courtesan culture
into relief and made it ridiculous.
Late! the cancin seeks its accent, sentimetalnd candid in its spottaneity. The
Crbat cancin, rvhile influenced by the Italian style 'hich the opera imposed in
Spain at the beginning of the Eighteenth Centuty, replesents an effort to'ald an
emancipation, r.hose exact degree of attainmcnt at thc present time we cannoi d!ter_
mine. It uses the most aried forms for its expression. employing rhythmic measures
of three four, six eight, quadruple ot t\o for time. This expressi6n is tender. plai-
tie, melarcholy, sentiment1, romantic and is developed i the ost measured harm-
onic enirormet. ifhere are at times :greeable modulative surptises aided by a slorv
and dramatic style which follot s classic technique in expression. So it happens that
the second oice. chracteristic of our most typlcal canciones, acquires through the
imitatie style which it displays a prominancc u,hich is oftcn superjor to that of the
pimo, l.eadir,g voice. The guitar, rvhich is the most apptopriate instrument for its
accompariment on accoullt of the ittensity of the expressie accent obtained from
its strings, takes a restless participation in the entire development of tl,is charming
dialogue.
Ont canciones were may tim!s een u ritten for six or eight voices.
Listeaing closely to thosc magtificent cxpoents of our naticnal lyrics. Sindo
Garay, lberto Villaln and Rosendo Ruiz, as wcll as many othets less rvel1 knorvn
due to the confusion reigning at present but u,ho ate by no means mute, 1(''e can
understand why our melodic expression should, in the flear futrc, cotsclidte the
corquests started by the force of our rhythms.
If rve consider the disciplined musicia. whose expression has undergone evolution
in ccntact rvith an environment of greater culture, $re could say that the adncidn has
been enriched with a harmonic strrlcclrre more in accord rvith the tendencies of thc
moment; that our composers univcrsalize at]:. cancin rvithout affecting its specific
Cuban charactet. ifhis character. Cod forbid, does not lie i the poerty of the
cxpressive mediums but in the intrinsic quality of the expression itself.
We u,ould not say, horever, that all harmonic ptocesses because of their modern-
ity fit into this evolution. In the same u,ay that \e speak of trends, or rather of
melodic environments which are characte stic of each region, at the prcsent time whcn
vertical writing, given impulse palticularly by Debussian impressionism, which has
take root with such fecundity in North merica, invades the 1ot1d, lve cfl also
speak of characteristic harmodc enirotmets. But here we also find the dissociating
source iying in ambush.
The popular music of North merica,
jazz, wbrch is exercising an influence ofl
the evolution of our rnusic, tkes over and adopts harmonic formulas from French
impressionism which animated by a negro rhythm tesult in the creatjon of popular
music out of what \r'as exquisitely artistic in otigin. But impressionism reaches only
the exactness of expression in its cteator, all possibilities being closed behind him.
The great mass of the merican people embraces only thc she1l u'ithout pctetraring
-
XXVII
-
its inner contents. Certain harmonic formulas are repeated incessantly and with
lime become a limitation and an empty maflredsm. The melody reduces its field
enslaed by a harmonic environment which generally precedes its conceprion, This
harmonic environment with its sequences of ninth cords (which Debussy so well
exhausted), the added sixths, the combination of the pentaphonic scales, etc., have
created a styie which is nol the popular music of the United States. Let us repeat
that re are referring to impressionism in North America as an elem!nt of popular
expression. We knorv what artists like Gershrvin. Henderson, Vatesse ard others have
produced.
This style has taken hold on our yourlg usicians .ho prefer to follo$, the line
of least resistance and adopt ready made creations instead of finding rd developilg
something of their own. If our melody, which is alteady bound to rhythm, is sub-
mitted to the requirements of formulas in harmony, which besides lre not new, it \i11
die regardless of our strong Spanish tradition. We have already seen, and this is
more oticeable in vouths who cultivate the egro music, melodies boud to forced
harmonies of such marked North mcrican type that they seem scandalous to sensi-
bilities accstomed to the healthy freshness of our melos, which threaten to disappear
due to lack of comprehersio on the part of those who shold be their most enthu-
siastic supporters.
The case is different with musicians rho erdeavor to express themselves in the
highest forms of art: symphonic, choral or even the canc;dn eleated to an artistic leel
similar to the 11ed. Those (the majority) who enjoy reseaich in the origial regro
soutces, closing their eyes to the ancier.t and burstig chest which is a legacy of noble
Spain, find, rejuvenate and stylize faithful equivalents of our fro-Cuban soorous
arsenal, rvithout losing our negro-Cuban characteristics through foreign affectations,
despite the heaviness of the product at times. Let us turn our eyes toward these
musicians alrd study the possibilities offered by the new road which has its origin in
thc rvell defined cultures of the purified environment of mother Europe. Let us learn
from Europe horv to be mericans.
As an example of the canci 1n an advanced stage of evolution, see Vruir Sin Tas
Caticias and. Cotazn, (pages 62 ar,d 59) two of the many by the mentioned author
Snchez de Fuentes. We should also ref!r to the caaciones which their author ca1ls
lreder, by Guillermo M. Toms, late Cuban musicologist, but their quality does not fall
within the scope of popular music to which this article is limited. /e can say the
same of Morr'uos de Son by madeo Roldn and lejandro Garcia Caturla.
THE THETER: $/hen the Cuban theatet, where the racial duality $'e haye
emphasized can be observed (in the t\o caricatrued types the negro and the Galiciar),
has endeavored to accellt its dramatic
quality, it has follorved the lyrical forms of
the Italian opera or the Spatisb zatzaela
(musical
drama) \4,ithout regard to hor
purely Cuban the production might be. Cenerally, however, theatrical productions
are adorned with pieces of music
,,vhich
do not belong, generically speakilg, to lyric-
dramatic nomenclatute, such as boleros, canciones, guatachds) clctaes, sanrs, rumbas.
Some of these became stylized by coltact with the stage eironment making them
spectacular, amoog which are the claL)e, the guarachtT ad eerr the rumbd itself; the
two former gen.es survie thanks to the stage which presents them as living docum!nts
of our pst.
:fending to$/ard a more autheltic dramatic quality. th!re appers the type of
-XXVITT
romdnzas which E rnesto Lecuona composed for his zarzueld iaria 1a O,- depicting
Cuban customs. This is a favorite with our masses of which it is a reflectiol. There
are enthsiastic followers of this type, such as Marla Beln C,acdn, by Rodrigo
Pratts. (page 118).
The most cultivated of our theatrical genre is the sainere (one act farce) on
matters of current interest, rvhich lack artistic value. But seriousll' coceived works
are also produced some of which attrcted rhe artertion of foreign critics. Out-
standing among these is la Viryen Motena, a zarzuela 1ith libretto by urelio G.
Riancho and music by Eliseo Grenet which had the grcatest run of ny Cuban work
in Spain. In the same class is Lamento Esc/auo, (page 88) the pristine simplicity
of which has conquered all peoples, and Mi Vida es Cantar,
(page
160) whose echo
can still be heard in Spain. Nla Rira, by the saine author, collaboratirg wirh Emes,
to Lecuona, was presented with less success although it obtaired applause on ail
stages of Spain. The tango-congo of rvorld fame Manrd lns' appears in said work
by Grenet and revealed the genial Rita Monr3ler as our besr interpreter of this genre.
In March 1915, the latest zarzueld depicting Cuban customs, \iith music by Eliseo
Grenet, lo Camagegana, ws preseted in the Teatro Nuevo of Barcelona.
Prior to these, La Nifia Mers, by Moiss Simons, was presented in the :fearro
Calderon of Madrid. But the gieatest success of this Cuban composer \,vas attaied
with Toi se Moi, preserted in Paris in 193,1. While this $,o!k represented the tri,
umph of a Cuban artist, it can hardly be credited to our music as it rvas
.,ritten
afld
presented for French taste.
Cecilia Valds, by Gonzalo Roig, which has never been produced abroad, is a
favorite rvith our public. Its score raises the lyrical element of our vernacular theater
to a higher level. lso should be mentioned the works of Ernesto Lecuona rvith
libretto by Gustavo Snchez Galatraga Marla la O, Rosa la China, Et Cafetal, and
others.
We should not forget to mentio Jos Marin Varona, the brothers Manuel and
Jos Mauri y de Palau, who gave the greatesr impulse to the popular theater at the
beginning of the Cetury; or Jorge nckermann who was highly successful as the
head of the Teatro lhambra company. home of the most patent Cubn popular rt,
which has given way before the advance of the sound films. Jaime and Ro<lrigo
Pratts have also promoted our lyrical theater productios.
\tr/e have referred only to popular works with which we are more concerned in
this article up to the present. In the field of Opera, Cubans such as Caspar Villate,
lvhose Bdlrdso/ roas heard in Madrid and Pads nd recently in Havanaj Laureano
Fuentes, author of Sei1a,. Ignacio Cervates, author of Ma[edeno; Jos Mauri, au-
thor of la Esclaoa; arld Eduardo Snchez de Fuentes, author of Dorega, La Dolotosa
El caminante, El ndufrugo and Yumui have produced medtorious works, some of
which have appeared on the most famotrs stages of Europe and ha\,e contributed to the
aggrandization of our countty.
The ballet was cultivated with success by our late madeo Roldn, whose loss
truncated hope of our symphoric art and
',\,ho
produced E1 Milagro de Anaquill
and Le Rebdmbaruma, of an fro-C rban savor emptroying the most moderfl technical
means. Eduardo Snchez de Fuentes is completing the score of his D/on whose
theme is based on a moder legend.
-xxlx-
The moving pictlrre industry t present offers us the iafinite possibilities of its
technique. The first trials in the vast field ol this nerv aud complex modality of
art consist of popular compositions by Gilberto Valds, rvhich are distinguished princi-
pally for the realism of their negto scenes.
Norv we shall refcr to the gerres which have the elements of the negro and the
lvhite i better balence.
GENRES OF EQUI:IBLE BLCK AND WHI:IE INFLUENCE: Thecon-
trdddnza is the old.st of this type. Thcrc is little more to add to the observations
concerning the contddnza given whea describing the three forms of our music lts
forr-tr consists of two parts, of ten and six measutes each. The character of the secotd
part is better defined than that of the first
"and
the intetion of its style is more
pronounced," to quote from
"Folklore
in Cuban Music" by Snchez de Fuentes.
They were written alike ia t',vo four and six eight time.
The contradanza was the root from rvhich sprang the ballrocm danzc in the
second half of the past Century, the danzn wbrch appeared in the last quarter of the
Century, and the ddnzanete, in which the danzn allies itself \'ith the son to vhich
it cedes the last part. This evolution is still under way, as we have obsetved.
Otr conltadanza, as a datce, belongs to the so-cailed square dances in which all
the couples in the ballroom collaborated to form diverse figures. These were ca11ed
Parade, Chain, ostenido and Ceddzo. Let us see how they are described by Dolores
Maria de Ximeno in the Reuisra Bimestrc Cubana ulder the heading Those Times.
"
in the period of Doiia Justa, at the beginning of the Certury (XIX),
dancing rvas original and odd. lfhe couples were placed along the ballroom, the girls
on one side, thei! partr!rs facing them in a long row. The first couple o one end
started the dance, dancing the full length of the empty space. This was called Open-
ing the dance. Immediately, anothe( couple started, and then another, until all rvere
in motion.
-I'he
position of first couplc u.as highly desired because of the opportu-
nity of distinguishing one's self rvhich it offered. So much was it desired that the
couple would arrive eatly at the dance
q,ith
benches or stools and take possession of
the place where the first couple rvould be situated to hold the right ol Opening the
dance. Regarding its origin, Snchez de Fuentes, follorving opinions of Pascual y
Ferrer and Serafin Ramitez says that it is English
(courtry-dace)
imported by
thc French rvho visited us in the Eighteenth Century". However, Max Littr, the
critic, considers that the rustic dance of the English r.vhich
,,vas
in vogue in France
during the Regency has been confused u.ith the primitive conttadanza, Paronymy,
he adds, has confused these two completely different dances under the sJme nme.
On the other hand, Jos Miguel Macias tells us in his Cuban Dictionary published in
lBB5:
"Modern
dances are known in the Island: b,ot t]oe danza crlolla is the most
favored. This Cuban dance is o other than the Spanish cont(adaza modified by
the c1imate".
Among the composers who have cultiated the contradanzd rvith most success is
Manuel Saumell, who died in 1870. It may be said \ithout doubt that he \Mas
the pioneer of the Cuban Danza."
THE DNZ: il'his seems to us to be an evolu tio ol the conttddanzo in vrhich
the second part accents eer more the chrcter which distinguishes it from the first.
Originally, it was sti1l danced as a squaro dance, but as we kne$,, it in its last period it
-xxx-
\as daced independently by couples. It is probable that the rapidity of the dance,
which made it unsited to our clime, led the danza toward the slower rhythm of its
successor. This is the only reason to which we can attribute the disappearance of
this df,nce from our ballroom for it rras fu1l of
joy
and tropical gaiety and was played
rvith the rhythm of sudde cortrasts of six eight and two four time. Ortly twenty
years ago it was the highlight rvhich ended our darces. Being subsrituted b the
dunzn, rt became thc refuge of the most personal and intimate musical thought of
the composer, achieving a style free from its original subordinatioo to the dance. This
marks the bcginning of the period of style of Ignacio Cervantes Danzas writtet lor
thc piano and known all over the 1vor1d. (See pages 1 and 2) Many of them rise
above their primitive vssalage to the dance orrly to submit to the description of extr4-
musical ideas which u'as tendency of the period in which our composer lived; but on
orany occasios they are the exteriorizatio of the purest musical idea, brief, nimble,
subtle, like rh! outshoots of a recently sprouted seed.
Laureano Fuentes embellished them with rr elegnt and sober styl! and Ernes
to Lecuona. u,ho has enriched the genre with his abundant production, has redeemed
them delinitely from the dance steps. His cortrol of piaoo techrique makes him
dally with delicious sonorities of a realism which is at times surprising and in whicl-)
the idea bubbles in the impenetrability of a rhythm which is uncontroiable, dominat,
ing and obsessing. The Compatsa' is the most popular and one of his fitst works.
Weil known also a.re Ahi Viene el Chino, , La Danza Neara. f)anza de los Ndfiictos.
forqup le \ a* Primorosa, Ln Tres Por
-.uolro,
Baildbta li Neora xtd mrnv oLLers
in most ca.cs in.pired bv popular rhemre whi"h Iccuonr d.scribes rvith chrrming
fidelity. His production in this genre
constitutes the most iterestirg maflifestation
oi thir highlv popular composer.
Alejandro Carcia Caturla, after rvriting his Danza del Tambor, for the piano,
basing his thenes aliys on the fro-Cuban. eletes thc gcnre t the orchestral 1eve1
with his Tres Danzas Cubanas \hich ibrare with the stridencies of our negro
evironment.
We might assert that all our cornposers have cultivatetl this getre, adopting a
teverent attitude and baring their inermost feelings, before the door opening into
thc noblest stream of pute music in \hose fleeting briefness \4re seem to divine the
palpitatig
sources of the grandest Cubat form.
THE DNZON: In the year 1879 Miguel Failde, colored musician, rvrote the
frrst d.anzn, r,hich was entitled l,ds Alturas de Simpsoo. It had its premiere irt the
club now knovn as Liceo de Matanzas.
''Possibly
a certaio black influence can be discerned in its basic rhyth, as in other
sectors of our music; but its morphology is not comparable, either in accent, continued
rhythm or patter. \4'ith the tumba ot tl)e claoe which, as we have said, always bear
unquestionable evidence of their frican stamp."
We quote these words of Snchez de Fuentes in support of our classification of
the tlanzn in our second group as ar iflmedite descendat of the danzu,
When we spoke of the knowledge which Spaniards have of out music, we said the
habanera and. the danzn represent our genre to the.
'fhe
Diccionatio de la Lengua
Esporo|a defines the latter as a Cuban dance similar to the hdbaftera; but lvhile the
-xxxl-
move1ents of the donza may have a certit rhythmic a[alogy, the danzn is more
ample and has undergone more evohrtin tha the hobaeru' In effect in the ddttzn
we may obsetve the same cofltuast of movements as in the classic form of pure art:
These movements are, substantially allegro-andante-allegro.
The danzn is 'ritte two four time and begins with a part of eight mesures
called inttoduction, which is repeated to fiake a total of sixteen measures before
el,tetig the claihet patt. Eve though there is no interruptiot bet"veen the two
parts and the rhythm is always sustained in the same time (coiderig that the slight
-acceleration
i the latter part is hardly perceptible), we cn assert that iNofar as
style is concerned the first pafi has more movement that the second bccause as its
name indicated, it is written for the agility of thc cldnet and in the charanga. which
does not have a clatinet, the flute takes the part. In this latte! case the music some
times dses to the heights of oittuosism in passages u'ritten with qui'k notes *'here the
technique of the flutist can be displayed with one of the old five key inslrumenls in
its highest range. These otes ate at times demisemiquavers and double demiseni-
quavers. The firt patt geteraily reaches sixtecn measrrles, leturlling ane$' to the
introduction which serves as a bridge to unite the different part. From the repetition
of the ifltrodnction the piece goes ito the oiolin pt rvhich due to a longel duration
of the notes offers a slower tempo which might correspond to the dndanae in the classic
form. Its length is generally thirty-two measures. Returning again to the intro
duction, the piece goes ito the third pcriod or part' $'hich almost always has the
faster movement of the rumba. This acceleration, as a cont(ast with the second prt,
is obtained, as we have said, by dimhishing the value of the notes which gives it a
faster tempo. When the son or;el.tl took root in Havana around t]ne yer 1917, it
substituted the runba theme in the third part o1 the danzn' adapting itself to the
faster movemet ol tbe danzn.
'fhe
danzn is built on our futdamental rhythm pattem with a sustaincd peri-
odical succession rryhjch shorvs the figuratiot of the cinquillo in the first of its two
measures, essentially inherent to the moement of thjs dance genre u'hich is so char-
acteristicall Cuba11.
s we have seet, its stlucture is of ciassic form giving it n artistic tendency
which its detractors refuse to recognize. calling it a musical blundet a,nd considering
it only as a degeneration of the danza, We consider it rather as the logical evoiution
of the dace, \hich not only becomes slo$'er but introduces a pause or rest for the
dancers who stop during the introduction repeated at the end of cach part to recoel
ftom effects f our warm climate. In the purest musical sense, we have already
shown how the danzd becotnes a receptacle for the most intimate expression of the
composet.
The contemptous opinion held by some regarding ow danzfi may have been
iafluenced by the taste !ith t'hich the majotity of thee are consttucted With
composers following the line of least resistance, as said above, it frequently happens
that the entire dance, which is oul lortg!st, has only eight original mesures' the intro
duction. t times not een these are origiaal and we find expression 5o foreigfl to
us as opertic airs, rgentine tango, Spanish copler, meriaan fox-trots i the
most roble themes of classic repertoire
'shoved
between the sticks of or
'ld'es"
with the most scandalous irreveretce. The abuse of these ethods stagnat!d the de
velopment of the danzn and when in the year 1916 the first group of merican
-xxxli-
negroes surprised us with the stridencies and acrobatics o{ the
jazz
band and the dy-
nanism of their disarticulated dances, the taste of the public adopted this new mode,
which awakencd the most suspected emotion to all inter!st lost in thc confusion
which had invaded Cuban tast!.
Up to that time the names of Raimundo and Pablo Valenzuela, Felipe Valds
ad Flix Cruz had become \,e11 kno\n. They filled the gftat salo[s ed o].rtdoot
fetes with the sound of the coppers ad lood of the tgpical orcesrra struggling for
spremacy and rvith the thunderous rhythm of the tympanoi which, freed irom the
discipline to rvhich they were subject in the classical orchestra, eideevor!d to altain
the highest plane in tbis anarchy of plebeian stridcncies- The notc of highest color
\i,as gien by the cornet which as the chanteclet of the band took over thc introduc
tions impcsing a dcminance sustained by the attifice of its r.ariaticns which rvere
traced on th! original melody thus renewing the enthusiasm of the dancers to JgJin
entet the parte. The trombore, rn ritten in high tessiture, contributed lo ilcrease th!
voiume of soLrnd and a playful ophicleiclc almost always gamboled on the ;nargin of
the ruled staff. ifhe clarinets, written in their highest register, together with the
giro anC the c[aes, completed this pictre of blinding luminosity rlhich brought
our most remote sensuality to the surface
But this instrumeiltal combination was airpropriate only, as rve havc said, to
dances given outdoors or in great ballrooms. In family reuions dancing $s in
accord with the French charanga. so-called fot some unknown reeson.
_Ih!
piano
!{as the sound base :}ssisted by a contrabass nearly always rvith three srrings two
violins, first and second, an old time five key fl-tte, a giro ard two sma1l tympanos.
These, as in the typical orchestra, are tned on the tonic and the dominat of the
piece and are played od lrbttum, becoaing often the chief ttraction of the group.
'1ihe
style is still the same as lhe typical orchestra, lvith the acrobacies of the cornet
ow ir charge of the flute. whose oice is sornetimes heard far off as a rcmirrsccnt
note in the forgetfulness of the night.
No personality $.as loie outstatding in this genre than that of ntonio Maria
Romeu who, while using foreign them s inhrs danzones, Iollowing the custom
justified
by usage, gave them an utmistakble Cuban character.
Jazz submerged o:ut daz into the most absolute oblivion and during seelal
years it was not used at dances. lfhe soa, which bid to replace it in the public taste,
was banned from our adstrocratic dances and by the colored people's clubs.
'I-he
best
orchesrras were imported from the United States; our flutists packed away their in-
struments to adopt the saxophone, while the kettle-drummers gae themseles over
to the grotesque
jugglings
of the metican drummer. At the same time that the ddD-
zdn !as derturalized by the use of foreign airs, Cuban concroaes were danced with
fox-trot rhythm. $/ith the coming of the radio and electlic phonograph recording
recuperation of our dace gelrres begat; but the triumph v,hich our music achieved
abroad contributed considerably to it. We cannot deny, however, that cultivation of
the
jazz
made possible the triumph of oll.t tumba. Cuban music with the meri-
can accelt of the saxophone was as iteresting a melodic element for mericans as
their trombone glisades and their acrobatic drumsticks had been for us. OLu orches-
tras werc no\r engaged to propagate this ne! modlity of melody and rhytlrm
(though the latter was very much dulled by the lack of the tympancs). nd with
Mamti Ins, El Manisero ar,d Srboneg as flag bearers, the march started that was to
xxxIII-
aoflquer North merica and then continue immediately to Europe rvhere, sad to say,
our son is more popular than it is in our own iand \i'hele our orchestra musicilns
bost an American taste.
In truth it was the Soil which made this universal conquest by our music possible
because the form of the danzn, whose origin was due to the effects of our climate,
n as not adaptable to the dynamism of foreign lands. In Cuba, however, the dan:zn
is sti11 danced bLrt the tgpical orchestra can be said to have disappeared. Only the
charanga rs heard
q,hich
the authority of Romeu has made traditional and without a
sbstitute. See the danzn La Mora, by Eliseo Grenet' who imparted a delicte grace
to the genre \a.hen he cultivated it in the f;rst yers of his attistic wotk
-xxxrv-
V,ll.l
-xxxv-
iFHE SON: The son iavaded Haana about 1917 and started a fashion which
captured the enthusiasm of our dancers and disputed the supremacv of tbe danzn.
Thc environment became saturated with the
perfume of Cuba's rugged East and the
sound of the peasant's raes with its cortege of lustic m@.acds a1ld the anarchic rhythm
of the roaring bongri composed the murmur heard from behind each door with a ore
intimte sonorousness than that of our usual instrmeta1 groups. Due to the sim-
plicity of its form, which is merely a repetitio of an original refrait of not more
than four measures ctTled montuno and which is sung in chorus, and contrsting
motive for a solo voice which does not
go
beyond eight mesures, the on seems boutd
by a close relationship to t]ne rutub.
Regardless of the popularity which it has acquired since a relatively recent date,
the son is considered as very old, its origio being attributed to the first days of our
musical history as Ma Teoclora, sister of Micaela Gin2, above mentioned as
^
o;ge-
/isra of the years 1568 to 7592, sang these popular rhythms acompanying hetself on
a bandola irL Baracoa, the city where the otiental son originated according to Snchez
de Fuentes.
.
"it
was sung by a number of amateur called gtarachetos v'ho composed
\Mhat today we know as estudiantinas
(groups of studeflts forming rnusical groups).
These groups were formed by playets of tres (first artd seconC) guitarist (accomp-
nists) , a bongosero
(player of the bong6) , two small drums, mardqdero d a playet
ol botijel.t (specie of cofltrabass), whose work aiways aroused the curiosity of the
audience due to the ability with which he obtained the necessary soutds, now hoarse,
now strog, now \eak, from the miserable eathenware
jug
into which he blerr
t tin,es these groups utilized a peculiar homemade instrument which the people call
marimbula, possibly intending to say marimba. It consists of a box with a circular
aperture like tht of the guitar. ifhe sound is produced by very thin steel plates of
different lengths fixed upon the harmonic box and which are made to vibrate with the
fingers. The piayer, seated on his instrmett, piays it with the finger tips.
In Havana a tflrmpet is added to the group while the coittabass substitutes the
botija and the c/cr-res clarifies the rhyrhrn of the bong.
mong the characteistics of the son the anticipated bass which we can observe
in many of the composition which appear in our collection, is outstnding'
-xxxvl-
BACAL
From the book El Folhlore en la Msica Cubana by Snchez Ce Fuentes, rve take
tu,o cxamples of old soaes:
I..,1U..,]ERE:S VAMOS A LA RLJMBA
15
---lJt-:
a - t-r Dzt -
h -ta ,7 qz,e.zes
-
Ca.ai-xa aa-la.
-pz
,o-- te-
Note the peculiarity of the syncopation which is another characteristic of this
genre in these examples.
The musicians of the Eastern Province where the sor1 originted, cspecially thc
intuitie ones, have given it its most legitiate savor. mong these nusicians we shall
especially mention Sindo Gatay and Miguel Matamoros. The latter is the author of
Son de la Loma, La Mujer de Antonio and /
Que
lembra su Maiz which, as almost
all his compositions have attained great popularity.
(
pages 172, 181 and 179).
'V/orks
of this gere which contain the putest expression of the people have been
produccd in Havana also, although in a style that approaches the sphere of thc can-
cia. See Ignacio Piiieiro's Las Cudfta Palomas
(
page 175); also Las Tres Lindas
Cubanasby Castillo, (page 177) Sun Sun Paloma
(page
170) by Rodriguez y Va-
rcrla. Junto a un CafrdL)erul by Rosendo Ruiz (page 108) ot Lamento Cubano
(.page
106
)
by Eliseo Grenet in which to the rhythm of the son is added the fragrance of our
country enironment. nd, as in this latter case and in the previous one, the compo-
sition resolves into a melody more like that of the Spaish Court, it Bruca Manigu,i
by rsenio Rodriguez, it becomes obscured in an itterpretation of the oegro cnviron
ment which is accented even more by the rvords of the piece, (page
189).
We have already spoken about the different interpretations of this genre given by
the players of the son in Havana and in Oriente when discussing the relatior bet\een
our melody ad our music. We shall on1y add now that the groups which are called son
are the hot dog music of the Beach as they aie called by the gret Spanish musician
do1fo Salazar. It is these groups which attract the attention of artists who visit us
and who nearly ahr'ys arc so itterested that they endeaor to produce something
similar to it, as happened with Garcia Lorca, lberti and others in poetry and rvith
George Cershwin, the famous author of Rhapsody in Blue who took the principal
theme for his Cuban Ovctturc from a on byPineio, Echqle Salsita,
(page186).
THE DNZONETE: The danzonete rs nothrtrg but an adaptation of the son
to the form of the danzn. The danznbad always been r instlumental piece with
out itervention of the voice. The popularity attaired by the son must have origin-
-
xxxvlI
-
ated the ide of adapting its sonority to tbe danzn, forming a sort of a11iance. Anicc-
to Diaz of Matanzas, as Failde, was th! creator of the danzonete. In it the old itroduc,
tion of the danzn wbich consisted of eight measures repeatcd became sixteen rithout
rcpetition, doubling the length of the period, and in the last part the mdrdcos rke
the piace of the
qiro
and the music is accompanied by song u,ith the entire orchestra
chorusing the refrain. The tempo is the same as that of the montuno in the son, a
little more accelerted than the rest of the piece later.
THE CONGA: To mention all our dances in the order in which they have
appeared, rve nolv refer to the canga, whose steps hae come from the street into the
a1o.
Even at present conga is tl,e nme appiied to a street group.,ho sing and dnce to
a rhythm marked by a set of drums of different sizes, of frican origin. The dancc
is in fact nothing more than marching to the beat of the rhythm in which alternately
a syncopation is accented o 11 eve measures. tvhich syncopation the dancers mark
by slightly lifting cne leg and accenting the beat \ith brusque moement oI rhe
body.
Originally, it was the negro sles \ho expressed th!mseles in this m;nner on
the days assigneJ to these danccs. Frorn the adent of the Republic the congd becne
an elemerlt of political propaganda anC its songs, alrvays in
jocular
vein. nnourrced
che triumph of some codidate or the Cefeat of his rival. The tarls or follou.ers of
thesc aorrrd groups \ere composed of clements from the lo!,est social strata in whom
the rhythm became a sort of obsession bordering on delirium. These popular demon-
sttations in r,hich the crudest primitivism n,as exalted rvere permitted only during
electoral periods.
The force and originality of this rhythm aftel due stylization might, hou,cr-er.
result in a e\ foro of ballroom dancing. The idca sproLtts in Eliseo Grenet. stimu-
lated by the cnthusiasm rvith which our rhythos are received in Paris. and a erv style
u'ill ot be long in coming. From France it crosses
qver:
to thc Uqited States a{d from
the States to Cuba I
As a dance it has the novelty of the couples separatirg to form a tail which winds
about the room in a manner similar to thcse lvhich filed through oLtr stleets long ago.
This is a new contribution of the negro which becomes dissolved in the white current
rvhich it entiches.
La Conga' , is the first composition of this genre anC was quickly follorved by Pa-
raVigoMeVog', bcthwellknownto ail publics. Alegre Congo and Uno. Dos
q
1-res, by popular composers are closc: to their source and might be cited as moCels of
folkloric expression, (pages 191 and 192).
THE BOLRO: iChe Cuban bolero \s at adapttion of the Spanish 6olero.
The Spanish appears on the Island at the begining of the past century with dre
polos. seguidillas ad ti]nas which, animated with nelv life in Spain due to the
resurgence of the nationalistic spirit caused by thc Napoleonic wars, came to Cuba
"to
replce the first attempts of our popular music."
XXXVIII
Regardless of the ifldisputable Spanish origin the bolero is now one f oul most
characteristic genres and one which most faithfully refiects the optimistic
quality of
Cuban cheracte(. Its original rhythm lvitten in three four time, rapidly acclimates
itself al1d adapts its physiognomy to the ne$' cnilonment taking our favorite vo
four time which imposes on it the yoke of our repreentatie rhythms lt does not
matter that
"its
air be melancholic" as the Countess of Merlin tells us, aIId that the
minor rnode is the one preferably selected to reveal a spitit which does not tolerate
seriousness. The boleto. as we have said *'hen tcferring to the cancin, is alu'ays
lyrica1, playful and a melriment lvhich edeavors to stay primotdial bubblcs thtougb
ii. Whun a-t."." of truth mars its perential smile. this smile suddenly emcrges again
with greater strength. This is why we can say of the bolero as we have said of the
haboneru, that its gerieric characteristics are flot necearily in the rhythm but in its
expressive envitonmett. Therefore, vocal compositiofls may exist having the
form and rhythmic pattert of the boleto [which is a rhyrhmical modu] f our two
four time \ith a quintille in first mesurc.
lFntrl
,
f-I
,
I
t which due to
the chracter of the melocly fits better in the classification of the cancrn When
speaking of the cancin we mentioned this mixture as wc might call it in the generic
classification of many of out works This happens, in our opinion wtth l'4Clept'
mana, and, En el Sendero de mi Vida
(pages 110 ar,d 77'1. We rvould include in a
more ample conception of tbe cancin these 6o1ero measures which in teality manifcst
themselves as canciones through the greater slorvness required by the tempo in its
jntcrpretation.
/e would prefer to call them canciones-boleros
On the other hand, see rypicl boleros such as Cel/a. e Fu, La Ausetcia' La Tar-
de. Las Perlas de tu Boca, Si l-lego a Besarte and Despus de un Beso, as well as the
second part of Como Arrullo de Palmas.
The olero s,as more ethusiastically cultiated in Sttiago de Cuba, Irom whete it
came to Hana, substituting the guaracha rvhich was the predomitating genre and
driving it to thc more limited alrd lcs pofltaeou enilonment of the stage'
Tts form consjsts of a brief introduction and two prts of sixteet to thirty-t$'o
measures
generally in each part even though ther are o rules regarding these di-
mensioIIs.
In conclusion,
ra,c might say tht the instrument which most faithfully interprets
tbe bolera in accompaniment
is the guitar due to its intimate sonority o11 1hose
chords. which sustain the melody without intercepting it, the theme is developed with
captivating grace. These strokes, which are generally on the fundamental chords, are
maintained throughout and when they ate interupted by some shading of the rhythm
again takes hold of the expression to guide it along the lines of
jts
immutable
isochronism. Graphically the strokes are
"ta
trtr 1 lTllttr,r I flTtr+lI1
'
It contains our rhythm pattern \Mhich is revealed hen the accompaniment prsses
from the guitar to the piano whose
greater sonorous intensity and rigidity of expres-
sion would not admit such
Pattern.
THE CUARACH:
The guaracha is a genre which is no longer cultivated by
our composers, not een to lend atmosphere to a thetrical work as occurred not
many years ago, regardless of the fact that the stage is aln'ays the last redoubt of our
rnusic1 genres.
-
xxxlx
-
The name garucha is common to a Spanish dance which
t'as undoubtedly
introduced in Cuba where it underrvent a process of adaptation ending in its submis-
siofl to our rhythms
We alrvays considered the gutlrlcha, \'!'hich \c kflelv in its last days, as a group of
rhythmical combinations
(six eight or three four, u'ith tu'o for)
\ithout any
regulate<I order bt which caught the popular fancy rvith the sudden and surprising
co-ntrasts of the rhthms which were lively expressing the unbridled merrient of
the masses fol \hom it seemed to have been created- The voluptuous forms and
moements of the female mulatto in out treets a1$'ays animat! the ubstaflce of these
compositions in which pr-ou1ar lyrics overflow i their most spontaneous manifes-
tation. The two four time of the bolero is follou'ed by a clau'e six eight rime, or vicc
versa, to end ifl the tYpical refrain of a rumba, as the culmination of true pictule
of popular sensuality.
This is why it is difficult for u to accept guaracas written
witL i single rhythm. However, as it happens often' we deduce tht it is not the
form rvhich determies the genre in the guaracha'btt the substance, the theme, which
because of the environment which it pictures imparts its typical moement to thi
genre \hich has disappeared due to the present refiflement of our customs' In this case
rve would place La Palmia, by Moiss Simons (page 90), rvhich he ca11s :: ttmba
in the classification of the typicaT
guaracha.
The guaracha presents ifl its si]( eight time a peculiarity which is common to the
cla"^e, tht is, using notes of less a1ue at times in the ccented beats of the measuie
than i the uaccented bets, thereby
violating the tules of the traditiolal classic
rvriting;
aa
-o, .1< 1. ae
'W'e
repeat thel thc gutacha is not cultivated at present, but it !as a tavorlte genre
of cur singers and of all the composerc who produced music fot the theter,
Interpreters of the present fashion in Cuban music hae adopted the typical
costume of orrt gutitdcha dancers in which the feele multtoes u'ore full length
dresses with long trains which they gracefully held up during the dnce, and in s'hich
the males used shirts covered with ruffles of fine lace whosc appearance brought to
mind the plumagc of a male fovrl during the mating season
-IHE
CRIOLL: This is one of our most recent musical genres if
',vc
consider
it from the time it begins to be krlolv as a crlo11a. Compositions which would fall
under the classification we today
give the criolla gente had already been profusely
rvritten but they
',ere
still called clattes.
^fhe
ctiolla is, rr, effect. a derivation of the
conta de clae with greater exPlessive ambition in its melodic field. It attains its
ambition only in part as it has not succeeded in freeing itself from the rhythmical yoke
which is basic in its predecessor. To convince ourselves of this relation it is sufficient
to listen to the cldues sutg by our old rhapsodists. rvho surprise us by informig us
that the composition to which v'e have listened is a claae. Its more inlimte scnse
and its more moderate rhythm is already botdering on the cancin. We may see an
example in Mares g Arenas
(
page 27'1 I'hich is classified by its author as a claue when
it is typically \r'ht \as later to be called a criolld.
'lhis
designation. which is rather
intended to clarify a cofusioD rvhich threatened to do away *'ith the genuire expres
-xL-
sion of the old .lote.s. more a burial rite than a baptism. n,as made by Luis Casas
and Jorge nckermnn when the former wrote his Cornrclrz and thc lartet /_ /_indo
Criolla attl ca11ed them crrollas.
But this term seems rather an adjective given the sense of a noun in lvhich the original
noun is undcrstood. This original noun is no doubt.dncin. Cancin criolla should
bc, therefore, the true generic ame of this prodigal daughter af tl). claoe which seeks
its most legitimate ,relodic expression in the individual song. This is thc rcason rve
classify it among tbe genres rvhich are equally influenced by Spanish melody and by
frican rhythm.
It consists of a brief introduction and t\ro parts generally
of sixteen measures each
in \a hich the phrases attain rwo or four measures. The extension of each part is not,
however, limited to a determifled number of measures, nor is its modal spcc limited.
The measure is six eight aIrd the air is slov. and corra61e, slower tban the cldre.
'When
rve referred to the cdncin \e mentioned the criollas by Sindo Garay, anC
Jorge nckermann which are not canciones de to the predominance cquiled by the
rhythm but v,hich melodicaliy have the category and character of the cancrrin. See also
those composed by the Santiago de Cuba musicians Flix Caignet and lbetto Vil1a-
ln
Quieto
Besatte and Te Odio by the former (pages 69 and 7 7) art Ya Rel. Cuan,
da tu Llores by the latter, page
j3)
which he calls claoe crrol/a as well as LId rosa de
Francia by Rodrigo Prats. (page 122),
The criolla is also written in combinatioa with other genres. especialiy with the
6o1ero whicb always appears in the second part. We may cire as examples guello
Tade, and Como Arrullo de Palmas fpages 81 and 101
)
.
itHE PRECON: In the second group of our classification u,e place thr. preqn
as a definitively Cuban genre among the most characteristic.
The pregn. as its name indicates, originates in the song of our peddlers u,ho make
their work less arduous by singing. The intonation of the voice announcing an atticle
acquires a clear profile. producing real musical periods. In this field we find legitimate
models of our folkloric musical expression, as some of these calls of itirerant venders
re transmitted from generation to generation without suffering any alteration, and
have the most authentic popular quality. n example is found in the pteqn
of the
pulperos, who se1l their sour-s\'eet tamarid paste to the tune of an invariable song
$'hich bas been maintained intacf throughout the years:
/'1\
.
ra
- 4a-,,
,)io lel
d,ta
-
v zs
-a
-
*.za */'p la
Out musicians have always found inspiration in rbese ca1ls of the peddler or in
cases have merely adapted them in music. The theater began by creating a field for
their use in the comic duets of a negro ard a female mulatto. :fhese duets te fostered
by the pregn itself and we cflnot remember them without mentioiflg the name of
-XLI-
their principal exponent, Arquimedes Pous, a magnificenl charcter actor $,ho useJ
the purest popular acccnt in reproducing the calls in his duets.
The danz1n begen to dopt authentic p.egores from our peddlers and at times
incorporated thcm in the secod pait. The appearance oi the sorl in Havana offerel
a better field for the pregcin and not much time clapsed before it became a favorite
style of the eastern d3nce in which all the compositions of this genre have becn
styiized by musicians. El Manisero'by Moiss Simons is a beautiful example lvhich
has toured the world. In our colleclion there is also l Ftutero, by Ernesto Lecuo
na, Se
ya
el Dulcetito, by Rosendo Ruiz and Frutas de[ Caneg by Flix Caignet
I pages 97, 13). ard 127). i['hey are more frequently found in dance composilion
but the variations of their expression and their forn admits them even ir the sphere
o the cancin.
Genres Bordering on th! African
We live at present ifl one of the centers from which the fashion of negro mLrsrc
is extending to all the vorld. Cuba's r:ontribution to this mode is the rumba, which
has found favor in Europe ad even in North merica vrhere it has followed the
furrow made by American
jazz.
It was the bluster of the first stridencies of
jazz
which djrected attentio tolvard music of the negro. W'e must point odt, however,
that the music which ihite Euiope regards as legro, due to thc force of contrast, is ro
us, rho live in an enironment $.here the influence of the negro is greater, something
which cannor be so intensely appteciated. This explairs why our voung composers,
stimulated by the xcceptance of a music which they consider insufficiently represent-
tive, strive to produce a more genuine product in an effort to establish it more firmly.
W'e observe, however, how complacently artists of other climes acaept the aduller,
ated expression and shorv a clislike for the genuine. ,/e remember the impression our
music mde on Spanish artists and the attempts of the mericans Cershlvin and
MacDonald. Thcirs is always tlte hot dog music of the Beech,
'We
must also note thnt een arnong ourselves, the music of the black which be-
comes popular is always an interpretation by a white musician who poses as a dilertonre
of regro music, a spectator or commentator at most but aever a protagonist. ifhe
element of the black has llot become sufficiently naturalized i the composer to cause
him to abandon the brush for the pen. In other lvords, never has the Cubal musician
been able to express his purest conceptio[ ir1 the language of the blacks. So far it has
not been possible to say that u,hich Hctor Villa-Lobo expected of rhe late adeo
Roldn: 1 am the folhlore, rol to make
"more
authentic rnelodies than those rvhich
nou, exist, creating them from pure imagination," in a
"wotk
of musical supcr-
realism."
'We
repeat that een the composers \lrho best interpret the negro pteset modal
biends in the melody which we cnrot accept as a coincidence betr.een the much
worked over Spanish melody and the rudimentary melody of the frican. Our
negro is at best (and we refer to popular music) from the
jungles
of Cuba. He sings the
Afro-Cuban in a fusion of rhyth, which is the predominant element, with a meio-
._
XLII
-
dy of the black racc influenced first by the Spanish and
q,hich
has oI late been rerro-
spectively dire.ted torvard a point of origin which it is now difficult to find.
The music of the negro formerly heard in our theaters and sometimes in tbc strects
cluring carnival fetes or during pre-eiection periods, subject to incrcasingly greater
restriction, did nor find an echo in the \hite environment of our society, nor even
mong the best coiored element. $/hen the primitive son seemed on the verge of
opcning the door to e negro coquest, it was rejected by our balirooms as something
of bad taste which came from very low stratas of society. The Parisian and Amcrican
labels became necessary before we could look with favor on a personge who. ironically
enough. now exhibited
qualities which we had previously been unable to discover.
The artists fell fudously to the task of exalting our popular dances. first in the field
of plastics, then in literature when Nicols Guilln. our great representatie poet of
today submerges our dances in the lymph of his poetry and returns them s responsi
b1e, rejuvenated and invested with their most noble attributes to the original source.
Erneslo Lecuoa had already written his danzas Negra and lucuml, but thesc
like his later compositions *,ere submitted to tbe dazzlrng btilliance of the Steinway
\\,ithout stooping to the dust of the streets. \Ve cannot overlook. howcver, the fact
that they exercised rn irfluence at the begining of the negro vogue which began to
find a popular echo in the theatet, a more serious field which discards the light merri-
ment of the Cuban negro to embrace the hopes and sufferings of the frican slave.
It cannot be denied that the emotio is accented more by the color, a fact which
might have sered as a stimulus to find firmer qualities in th! music by delving in
the same direction.
The fi(st ettempts to t(aflsport the rich palette of our negro element to the piane
of the symphonic orchestra were made by madeo Roldn and Ale.lanclro Garcia Ca-
turla, vho were soor followed by the Spaniard Pedro Sanjun. In thc popular
field, Moiss Sioons, like Eliseo Grenet, nckermann and Lecuona, still produce
Afro-Cuban as an accessory to the stagc. But, tending toward the poetical which
is sought in the tender note and serious mien of the black. rve find the lullaby Drumi
Mobila by Ignacio Villa
(page
153), whose enviroamenl corresponds to that of
poetry rvhich began to gain ground with the rorks of Nicols Gi1ln who gives
prominence to the substantiai participation of his race in the structure of our
Cubanism. The Motioos de oa, in which the present
day Cuilln does not find the
force of his presert creed, did, however, reach the bare and utsuspected fibre of our
musicians who saw in the Motioos de oa the nucleus of their vague but strong
desires. These sma11 poems were clothed in the best silks of the artists: Moti.oos de
oa by Caturla, by Roldn, by Eliseo or Emilio Grenet are nothing but the Motiaos
r1e Son of Nicols Guilln. (see pages 134. 1)7, 140, 144 and i48) musical always
regardless of \hether they are recited by Eusebia Cosme or sung by Rita Motaer
Gilberto Valds enriches the volurne of the new current with his first cancin, EI
Bemb (page 156) in which is revealed a personality that had awaited the propitious
momenr to come forth aod which is inflexibly opposed to ai1 concession which might
affecr its firm rvhite-negro qulity. Starting from this first martifcstation, his two
qualities become ccented in opposite extremes, exploring the pure negro in its depths
and purifying the !hite continent in a manner which makes his music the step from
popular to select.
(See
also his negto ctadle-song Ogguere ot page i59).
Let us now see the
generic relation of our negro group.
-xt-l1l
Situated closest to rhe African source n'e bave in Cuba the songs of the Afro_Cuban
rrtual, known mons lrs s toques de Santo. There are diffelel genres but these
have not been cultivated as the desre by out musicians as may be seen b)' lhe present
collection in which it is hard to find a composjtion of this character. uch s the
Bemb
(prayer)
by Gilberto Vaids. The toques are obtaincd
('ith
the drums alC
peculiar percussio illstruments, whose rhytbm accompanies the chorus of the acolytes
rvhile these dance. forming a circle and marking the rhythmical accets lvith move-
ments of the body.
The Friliigo songs and dances of Cuba also derive their principal elemetts from
frican rhythm and employ negro drums of different dimensions percussion istru-
ments of metallic sound, rttles, animal
jaws,
whose loose teeth produce a special
sound when the
jaw
is struck o one side, and many oth!r pictutesque percussion
instruments which produce varied pictuies of rhythmic combinations of magical
emotive effects ofl those who submit to their influence. These songs arrd dances always
accompany a liturgical act. Thus we find them in the initiation music before the
altar of Ecul which is symbolized by a small drum containing the venerated fish skin
in which the god returfled to earth s a mortal to live among mer'; n t]:,e Diablito
dance saluting the sun in the zenith; in the procession of the recently initiated neo-
phytes, whose bare torsos show marks of yellow chalk, headed by the drum rvhich
stimulates the steps of the Diablito. whose costume is covered with small bells, and
who accents a rhythm which seems anarchic but which in fact lesponds to the expres
sion of a very elaborate rhythmic plan. Behind. enveloped in the smoke of the incense
which adds to the religious character of the picture the crowd. more devoted to rhe
rhytbm than to the doctrine. marches
1ith moements closely adapted to the brittle
sonorous line which surges forth, untamed, irrespressible, from the selvaric pcrcussion
battery. :lhe refrain of a song, constantly repeated and constantl rene\ed, atises
optimistically from this sea of rhythm which welcomes the ititiated.
This atmosphere of picturesque primitivism is the fountain which feeds the
preset day enthusiasm fot the negro,
possibly more intellectual th:n artistic. When
these prctices in which the hyperaetheia
sesuality, inebriated by an obsessant rhythm
unbridling the most elemental istincts. wer! abolished, they took refuge i the theatet
where they continued as living documents until the political crisis of the years 193 0 to
1933 returned them to their primitive field of action. During the period in which they
rvere cloistered in the theater lhere they
were seen on the stage as through the crystal
of an urn. musicians produced works ef this genre, tending to stylization. Later,
with the resurgence of old prctices, our learaed musicians, affected by thc fever of
the negro, turned to exploration of this
genre to find rhythmic formulas and sonorous
effects rvhich when literally transposed to the orchestra do not in fact produce a new
mnner of expressior but rather a new
palette in
Painting,
as we have previously said.
THE TNGO CONGO: The Tango congo is an frican modality which
was cultivated preferently ir the theater although its characteristic rhythm pattern:
nn
or'moregraphiclliv.Wlrasbeenu.pdinothprgenres
'--=-T---
by composers. Ernesto Lecuona adapts it u,ith a very reit!rated preferencc in his
works, in whicb the same rhythmic pattern offers at times different appearances. It
is curious to observe that the rhythm pattern is the same rt the habanera and also in
the contrudonza whose black infiuence
've
believe we have already demonstrated
XLIV
-
t
beyond a doubt. We shal1 not refer at present to the relation which there might be
bet\reen the Habanera ard tl:e Tango corqo. We shall only state that lbert
Friedenthal, as Snchez de Fuentes tells us in his El Folklore en la Msica Cubana,
maintains that otfi habaneta is oI frican origin.
This genre has also produced, as has the habanerc, a work rvhich has met with
great success on five continents.
'We
refer to the very popular Mamd lns' by \seo
Grenet, rvhich hs been tanslated ito the most exotic Oriental languages according
to published critical opinions. In this work a character which was popular in the
middle of the pst Century finds its most happy intrepretation in the hands of a
musician whose deepest fibers ahvays vibrate smilingly in expressing the authentically
popular with ingenious grace.
We find the same rhythm of the Tango congo ir the already mentioned Ogguere
by Gilberto Valds.
1'
::{
THE CONG: $/hen we speak of the recently introCuced ballroom dance
Lnown as the Conga we refer to itd remote frican origin. Observation of the con-
gos, which we knew in our youth, engaged in political propaganda in the steets of.
Havana is sufficient to understand that these manifestations, $.hose rhythm is the
primordial element of negro
joy,
must l)ave existed in the same form as at preset,
though illustrated with rudimentary melodies, ftom the first introduction of negro
siaves iato Cuba. l[-he congo, whose name comes from a large drum, probably of the
Congo, is a manifestation of frican
joy
without any preconceived formality. En
thusiasm is directed into a formal channel it the compatsa, rhich employs costumes
and lanterns and whose songs re prepared rvith a certain artistic itentio{. So it is
.Jogical
to believe that the conga evolved in a short period toward the cofipa$a, nnd
tht later, perhaps in an effort to moralize customs, the dance was eliminated to give
emphasis to tlle melody pro<luced by the voices, resulting in the clae. From collective
song the c/ore passed to individual song i which the expression acquired a more
defined profile on becoming more personal and finally originated the criolla,
^rhe
conga rvhich still appears on the streets every four years, drawing with the
magnet of its rhythm a plebeian multitude \,/hich attaches irself to its roil to support
any political creed, is ornamented vrith meiodies rvhich contain the most fithful
popular ccert and in which folklore takes full sway without tolerating any foreign
infiuence. The well-known Chambelona is an example:
-xl_v-
lfhis originated with the propaganda of Jos Miguel G6mez. presidential candidate
of the Liberal party, while that of the Machado party of 1924, A pt, a pil
(on
foot.
on Footl ws full of bubbling humorism:
l1 lL
This also was launched under the auspicies of the Liberal group.
However, if we are to be strict in this generical classification, rve must say that
these style of the popular conga lall rather v/ithin the field of the runlbd due to the
character of the melody; we might say that they are rumbas ol the streets.
We have seen horv h late years the conga has been transported to the ballroom
where the meiody, adorned with cosmetics which become iridesceat under the ne6n
rays, is drawing away from a rhythmic relationship which irks it at times.
THE COMPARS: The conga is formalized artd becomes spectacular in the
comparsa lt which the songs are coflsttucted in accordance with a preconceived envi-
ronmental conaeption, responding to an already ordered artistc tendency i style, to be
later rehearsed and sung carefully.
-fhe
,omparsa at timea represents . theme of short
dramatic development rrhich in the past adopted its themes from the daily incidents
of the work of the slave and his life in the compound or in the barracks or exalted
occult po'ers which animated the animals of the fields which the negro, in his selvatic
pantheism, always fused iith Natute. lfhat is why the compdrsas were called The
Hawk, The Scorpion, The Setpent, The BeauLiful Bird, etc. The lights of the
immense lanterns of the .omporsos gyrating under the ilfluence of the intoxicting
a"r-z!o-ba.r?-ra
.i11
d.-/ a ,- r
,Ja - ?5 a.f -f2.
-
aa
"u;
t1o
XT,VT
-
rhythm, emphasized the multi-colored costumes of the impassioned moing crolvd
producing
the effect of a gigantic kaleidoscope. The comparsas wcre prohibited in
I 9 1l as a result of rhe tendency oted in them to rerum to their original primirieness
and ere again authorized tecetly as a1l attraction fol tourists at ;l.]ich time contesrs
\ere orgnized in thich the Municipality awards valuable prizcs to the winning
cainparsas. This step may also mrk thc return of popular styles oI exprcssion *,hose
disappearance lvas threatened by sysremrtic probibirion
oi rnytbing which might
perturb conditiors with its savor of popular masses.
Br.rt the comparsas which we see i the u,ater colors of Landaluce, Spanish painter
of customs of the middle of the past Century, had not reachcd the deelopment nor
rhe brilliance of those which !e kne\ in our yourh nor of rhose of the prcsenl time.
Ir is probable that the unbridled actions of the masses in these anifestations created
rcaction in the governing social class which resultcd in prohibition of the dance in
the corrp.lrsds thereby transferring all its interest to the vocal meloCv and resulted in
the birth of the cldre song. Tbis rs thc onl) mrnncr rn which the negro can be
imagined as turning a deaf ear to rhe porverful srimulus of his rhythm wirh its
irresistible force torvard expression.
,/e have already spoken of the c/a
re
s,hen dcsignating thc three forns of our music
and r.hen discussing the criollo. Having already srted rvhar w! consider its logical
origin, we need add only that a peculiarity of the modern composition of this genre
is the placing of a rhythm pattern of thiee four time
lthree
quarter notes) in the six
eight time in which the claoe is always rvrirten. The bass marks the first and third
quarter notes. See an example r Oge Mi Clat;e. by Jorge nckermann (page 30)
rvhich is rvritten for rhe theater where the genre is in refuge at presert. S/e fird ir
in a highcr stte of evollltion in this composition both as to cxpression and form.
'I'HE
RUMB:
^fhe
rumba is rhe most popular
of our genres. 11 compo
sitions i.l'hich arc animated by our peculiar
rhythms are generally
<lesigaated by rhe
arne tumba abroad, where .e fincl c4nclones such as Mdrad and Siboneg-, wl_tose
character is diametrically opposed to the tumba, considered as rumb|s.
\/ithout
fear
of exaggerating \{,'e can say that tjis typical CaLan rumba is not known abroad rvhere
the music known as rumb ts in reality a son with faster tempo than required by
the easterr dflcc.
The rumba, with its close frican origln, always existed hidden within the lorvest
strata of our society due to the licentious character of the dance. As it the zapateo,
tbe couple te seprated bur the strikes with the heel and the leg moement inherent
to the zapateo ar!transferred it the rumba ptelerently to rhe hips an<l shoulders where
the moements arc otganlzed, accordirg to a sesually aggressive attitude of the man
and a defensive attitude of the woman.
The music consists of a refrain of eight easures which are repeated indefinitely
and in rvhich the melody is almost always a pretext for the rhythm u,hich is every-
thing in this popular genre. Thus, the gretest
number of rumbas are written with
absurd text which generally is a result of the rhythmical impulse.
See as an exampie the foilowing:
qz /d ,-/"-a
-
te-a le
-e
-XLVII-
64 ," _,,;
Q,,e
ifhe time is always two four and the sonorous material par excellence is the
human voice fot the song, with rhyrhmic combintions of percussion by drums,
cowbells, g.irros, clllres, etc. which frequently are substituted by home-made instru-
ments of boxes, bottles, spoons \vhich take the place of the clores. !tc. so that im-
provision of the rumba requires no other condition, in the environment in rrhich it
is proJuced. rhan J dc\irr tor
jovlu
erprcssion.
In more formal instrumenttions, such as \7e hear in our theaters, the old co1e-
tin, today repiaced by the trumpet, 1ed the melody through a series of variatiors glos-
sed by the song which at times became very difficult to recogize. But the true
protagonists of the rumba in the orchestra arc the hettle drums which, \ithin the
unarying rhythm *'hich they maintain accent the most otstanding movemerts of the
dancers with strorg beats at times on the metal and at others on the ring of the hide.
ifhis is the rumba of the stage, v.hich is logically more spectacular than that danced
by merrymakers in the privacy of their fiestas.
At times the dance imitates some determined actijry. In such cases this style is
designated with peculiar narnes as happens in the case of the Rumba clel Pupalote
(Rumba
of the Kite) \hich ws danced \ith the follo\,/ing refraio:
1a
-
oo
seea - o":2a1 pa-D -la
-
l azl2- do
-/<
vz/-L?s/ ,t-,r;
-
le a.
-
>ro r44-
the Mule
),
or like
Camagey, or Ro-
or
the
liLe thr rurnc l,nown ar prcsenr s Herrar lct Mula qshoeing
very remote ofles of Sdadr la Manteca and Ripiar el Perico, of
la Leiia ari,d Matar la Culebtu, of Santiago de Cuba.
The rumba ahvays expresses the
joy
of the lower classes u,hich take their themes
from tbe most pueril occurreaces s easily as from the most importat evert. With the
establishment of the Republic, popular joy
\ras manifested to the rune of:
tL i..,a az-baer L-b, a
and later the rumba, of Papd Monteto, lvho evelr after death did not abandon the
atmosphere of the rumba.
d4-tet 4.1, c).-|ta
-
-
XLV]II
-
14e
43-P.
-d!./
-
te-ra , tt -Jz/
The Papd Monteto typc, which incarnates the populer negro who is preoccupied
only \ith satisfying a most aid sensuaiity, has been a motive of inspiration for our
poets and our musicians.
In conclusion, we might say that if our rutuba rn rts full authenticity as a daoce
has been little seen o foreign stages, on the other hand such pleasant artists as Cot-
zlez Marir, ard Bert Singerman, interpreting the u.ork of our poets Emilio Balla-
gas nd Nicols Gui1ln, or of the Puerto Rican Talet, have acquainted al1 Spanish
speaking publics rith the intimate emotion ad sensual shaking u,hich is evidenced
in our popular dances.
The merican MacDonald calls the Scherzo of his Symphony tumba, ar,d al-
though the rumba has not been fu11y achieved as regards the iterpr!ttive faithful-
ness of the Cuban dance, his composition is an echo of our sentiments which presages
a definitive conquest in the more solid ground of high art.
-xl-rx-
Pupuloz
Au[oo
21x
.t{u"
B0
Ruuirud and Conected Compositions
Together with an Essay on the
Evolution of Music in Cuba
BY
Smilo
zenet
-
PROLOGUE BY DR, EDUARDO SANCHEZ DE FUENTES
Translated by R. Phiilips
HAVANA, APRIL, MCMXXXIX
J*/u*
Irrologue
Danza Cubana No. 1, Ignacio Cerantes
Danza Cubana No. 2, Ignacio Cerartes
Danza Cubana No. 2, Laurcano Fuentes, { Hijo)
T, Habatera, Eduardo Snchez de Fuentes
Es el amor la mitad de laVida, Car..cir Cubana, Jos Marin Varona
El attogo
que fi1utmutd, Cuajira. Jorge nckermann
La tatde, Bolero, Sindo Garay
Celia, Boleto, Manuel Mauri
Mis anhel'os, Canci6n, lbetto Vi11a16n
Mares g Arenas Chve Rosendo Ruiz
Ya tei cunndo tu llores, Criolla, lberto Vi1lal6n
iSi
ttego a besarte !, Bolero, Luis Casas
El
Quitrn,
Canci6n Cubana, Jorge ncketmann
Flor deYumut{, Cancin Cubaoa, Jorge nckermann
Cuban Music
Lo Baqameso. Criolla. Sindo Carav
Guarina, C{rolla, Sindo GaraY
t5
18
20
22
24
27
30
33
36
38
+2
46
49
5t
5'
59
62
66
69
7l
La ausencia, Bolero, lberto Vi11a16n .
Oge mi claoe, Jorge nckermann
. .
Pg
VII
IX
1
2
)
4
7
t0
12
Mi canto eres t, Ctiolla, Jorge nckermann
Despus de un beso, Bolero' Jorge nckermann
La Volantt, Criolla, Eduardo Snchez de Fuentes
Linda Cubana, Criolla, Eduardo Snchez de Fuentes
Vioir sin tus caticias, Canci6n, Eduatdo Snchez de Fuentes
Al recordar tu nomb' Canci6n, Carmelina Delfin
Quiero
besatte, Criolla, F1ix Caignet
Te Odio, Criolla' Flix Caignet
Cotazn. CaIrci,t'r, Eduardo Snchez de Fuentes
-197-
F.n eL ttcnco deL drbol, Bolero, Eusebio Delfin
Confesin, Cancioa, Rosendo Ruiz
En el Sendero de mi arda,Boleto' Oscar Hernndez
e fu, Bolero. Ernesto Lecuona
Aquella tade, Criolla-Bolero, Ernesto Lecuona
Paisaje, Punto Cubano. Eliseo Grenet
Las Perlas de tu -Boca,
Bolero, Eliseo Grenet
Lamento esclaoo. Eliseo Grenet
lolmira, Rumba, Moiss Simons
La Conga tje od, Danza. Ernesto Lecuona
El Frutero, Pteg6n, Ernesto Lecuona
Como artullo de palmas, Criolla-Bolero, Ernesto Lecuona
Los ojos negtos, Criolla-Bolero,
Arturo Guerra
Lamento Cubano, Son, Lliseo Crtnet
Jurlto a un caiaL)eral, Guajira-Son, Rosendo Ruiz
La Cleptmana, Boleto, Manuel Luna
Triguefrita, Cancin, Julio Brito
Ldgrimas Negras, Bolero-Son, Miguel Matamoros
Pc.
71
75
77
79
81
84
86
88
90
94
97
101
104
106
108
1i0
113
116
118
122
124
127
111
134
1)7
t40
144
148
153
t56
159
160
16)
167
170
\72
175
Sola g triste, Bolero, rmando Valdespi
Maria Beln Chacn, P.omarrza Cubana, Rodrigo Prats
una Rosa de Ftaacia, Criolla-Bolero, Rodrigo Prats
Frutas del Caney, Pregt, Flix Caigaet
Se tta el dulcerito, Pregn, Rosendo Ruiz
Negro Bembo. Son, Eliseo Crenet
Sngoro Cosongo, Son, Eliseo Gtenet
Quiriao
con su ,res, Carci6fl fro-cubana. Emilio Grenet
Tti no sabe ingl, Canci6n fro-cubena, Emilio Grenet
Yambamb, Canto negro, Emilio Grenet
Drumi Mobila, Canci6n de Cuna, Ignacio Vi11a
.Bembl, Gilberro Valdds
Ahota que etes mia, Canci6n-Bolero, Ernestina Lecuona
Ogguere, Car,cion de Cuna, Gilberto Valds
Mi oida es cantar,Romanza de 1a Virgen Morena,
Junto al rIo, Fantasia Guajira, Ernestina Lecuooa
Sua sun paloma, Son, lejandro Rodriguez
Son de la loma, Son, Miguel Matmoro
Las cuaLro polomas. Son. Ignacio Pineiro
Eliseo Grenet
-198-
Pg.
Tres Lindas cubanas, Son, Guilletmo Castillo .
El que siembta su maiz, Sor^, Miguel Matamoros
La mujer de ntonio, Son, Miguel Matamoros
Rosa, que linda eres, Son, Juan Francisco Mndez . .
" "
Buche g pluma N'mri, Son, Rafael Hernndez
Echdle Salsita, Son, Ignacio Piieiro
Bruca Manrguri, Son fro-cubano, rsenio Rodriguez
Aleqte Conga, Conga, Miguel Matamolos
l)no. dos q tres. Conga. Ra(ael Ortiz
Cachita, Canclr-rumba, Rafael Hernndez . .
*r99-
179
181
182
183
186
189
191
192
t94
DANZA CUBANA No.
'l
Ignacio Cer-vanies
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DANZA CUBANA No. 2
Ignacio Cervantes
,:==
DANZA CUBANA No.
Laureano Fuentes (hijo)
/tllelr'-elto Jc re r aarea:
..TU"
H.{]]ANER
Letra de Fernn Snchez Msica de Eduardo Snchez de Fuentes
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EL ARROYO OUE MURMURA
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cln do sLt s t"d
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CONFESION
CANCiON
Rosendo Ruiz
LL

d-
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toilo cofi 7,oo
ptes
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6ian rauarddyo pto!
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EN EL SENDERO DE MI VIDA
BOI-ERO
Tempo de bole.ro
?.
-
.,
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t el sen dn,o a nj v
j
da k;; la n hn
Tk;-
-
Oscar Hernndez
a- panas su par/une eli-
candtgqtPobJpetci
bi r sug
ro - masaasfxmo
aL-ma
T---1
Y que
-
nan.do ca
Valla
ro sa
-
supa"/ln1jlor
_
7ua
ya
slc deni eucn ta
conoTo trit [a o nogna
Conola
ro-saco..oelpc./u -
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lr
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s0/
lo
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n al spndcro,de m nda 2
SE FUE
BOI-ER
p.e Bolcm
Ernesto Lecuona-
es ctuel
Se fir l
?ue
lo b;- i
se-h;
g
de orej-
-
lnd -
tdn
-do
9e nl ene - ,t0
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Sa faLz
ASUELLA TARDE
CRIOI,I.A, /Oi-ERO
y?
?u;a
lo
?ue
.
r
t
lne
_
?ute
,
eat- 5i sz, pia rag
Ernesto Lecuona
mu- choTtaia 7le - ra
-
do
-
81
-
tTuella 7rle
I
Di
-
me
-porquc
inejtd.?
do - ias
tu,e
ry
mi dag mi
&_o n
to daaT so-
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an
-
catPd
-
dos
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et- tar
a
yo-e
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rc tg
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mor_-.=-_-::==\_,
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meen eon lte'con
Ja
P
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p t-,hs
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Ayella ?iv& 3
PAI SAJ E
P1)]\ITO CUBNO
l,etra de E. Cstro Msica de Eliseo Crenet
g
t,
-_=__
____-
trans.pa ,", ta
-
ta nue-men
-
te
-
:
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la ca a bra
lhu mil
de ke
1/
a;
pa
.
'do pc/-/u mdndo-al
-84-
r'u""t,r
{k. q:t _
ain son tean /,
dot
pi
d o
o - cuJ tos kanan ta
s c rre
td Cr o
,s_ater
- nd
ri
n con ld brt sd-_ los var desaa.L
va-'
ra,_
a nun.t:;o l .nd
dru-
-85-
LAS PERLAS DE TU EOCA
Letra de Armando Bronca
BoLERo
leapo d. Ne.o
Msica de liseo G"en"t
pa, - /as guefu
Studr
-
&seoiui-dd
-o4.tan
lindogstu - cle-
dc,palucie ra
.Jo_ma
prc.du .
c"rl enarn/
_
a Joaea:
t-]t-..
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lo -1o- deeoo tar lat baso_a be. so_a na mo
.
ra - do_isds
_etero
,86-
Ics turJs det Boc t
yar-
Jds como cho - oancontu ri
var - /asa./e- orar con ansia
pa ra hte - gqarrodi
-llarmganta
tu bo - cd- y-pe-
dir le de mos - nd4-nd son - 11 -
Zas Perhs de Boca 2
LAMENTO ESCLAVO
Letra de Aurelio G. Riancho
,/Yloderdto
Mrisica de Eliseo Crenet
su -
ifrran-do
te crual do -
/or
ldnnto f,sclvo I
-
so/ Ju.cu'nt ,sin
/ /; - 6ar-
li bres m d sa - ,ah ay ; ne -
gr Bncla vanto-a bai
-
lar qua /os ne
-9ros
-89-
PALM I RA
RUMB
f
t
I
I

i
(
rl
pat
sov 2
Pel-.rni -.a
da czL
ryo4
dp
Por ryL ,
qu-e-LmLll dn'tP A),c
sLt bL ?d
suaOhdrl.to
eu,an
-
daat )nchiou,- to ,o . d,o
rrte
mL.
ra
eu-a ri d.o'aL du- n.j i ru-.[i . U,a
rno- mt-.1
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!!!
Moiss Simons
Qu, -
rea sa . oet
ouizt
9!t,
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Pa
s@m.prc 50 -
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90
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b,
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t ba
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do aL
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quz soJrn-po
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Pol
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p.ia
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d* . rp-,.,u madn-sca. ba rd
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t@" ,,a-mooL
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bat che:p !
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bto- slL -ta ,
Sic,rn . br
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la tu o seanilotto
o
qaa
b.dbs d. . @1t a<r-Ja,
Je.m6-t!
n
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ht, ll,.t.] tic <La vozt
4911
do e-,"e.Je.|do
JahZ Z Z
ra La sumba !
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aa
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con
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tlL
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LIL
93
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LA CONGA SE VA
DNZ
Ernesto Lecuona
J
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)amQ
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por
-a
sweonl-pZs so-e.r1
- u.eq.de t4c fa - 7-orl
S-uz. na ne ro
las cas
qu-a,
91tL4,
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'ao
94-
G.".ja
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l1as.l:a que- dasP,g--to-aL dL
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Lo c.
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man-
ta
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baL La
o\ mi4a-mor
guie
res baL-Larcont tno
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ra-arcl^bn -
to
gQzensLLs
L - bLo,
L @ntae a1!2
95
tohdzbrin<ta
p.sq
vahe. mo1 -.
.yo
r\o voJ
C-on
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Por
luo-
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con. u.
p" s"-na
"r-pao
iL
ca ra
-
zorl la corl
aso
-96-
EL FRUTERO
PRFGON
Letra de Gustavo S. Calarraga Msica de Ernesto Lecuona
vo pr
4as sd bro sds y. co.t clo . ra
- das con-
1o
Las lla . vo
Pd.rd
las ni,.asbo.ni. tJr Tao,binr, ch; . ts E.s pi .
fias
t4o4 o
fo
rte
L/ovo c,a la.Le.zascol o . tr.os/ru.tos,rlazala3zs e.sas rlosorl
S:a
Las nLssartts sus a. nd
qa@os Tqbi\
ya
U-e. va r14
J,r
Su
r,ds /-ds U'2 o r tas
I
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tetiarchdy'ruLsls s;l sol QI
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ro newnantctwlgl,,-giiaGs, nta sa
9:b-n..h^:jvta"dsaqsa)el/wte
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@npnoa
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98
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cL U9J rL eo-a.qrl Soy
fu-.te,.ro
ca sa..L.ta at raa-d t bl4 . rc cd- s:e .ra te la da.
re sL. t- sot) .1t,
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Qs: cD
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vn
ca.se . rtta sal me.d.iota.bLe-
ro dDJ poru4 rgly,a to ca sa
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rd ti U au . ro sL to soqrt-ns
'
"Yo s"
dnv borun reaL va L
(
f
(
-99-
so or el
fnL
ta tu
J
so v2t ca se,.rtta p,o,i to iaL sL Lzg.uLrastLt conprgl Lb volsnpnbn
f
(
allosyel ca.nt hl y 1(avohai",ps,n,a"!,eseU.4iryeLu
jel!
r . co ra nleS
y
tlo.votarlaqa.
qool,an
dd ca porsu-bor,)) c.setd salquz ylf.u
Lc ro se
6orq1a yo n1a vol st.hz qa qoyuz. res )m.Prma
,alquzsL
sa
dy <lLLa .tL s0 -
-100::
, q.o
COMO ARRULLO DE PALMAS
CRIOLL - BOLERO
llloda"ab (CnllLt)
-a--- -12
Co n1oL a
"r,1,
a do pal nas
-eq
La U-a . r1u, rd
-
co-mo-eL L-
nu"
d, srr1so,1.7n 1
a, Ld-ai
Pe
sLL co lrp
dP
fr
a,o ru,
-
n10t_
co rnoel a . zul do mL,cLe Lo
-1
-
101
_
I
Ernesto Lecuona
,-1
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-al I
BoLaro (La.to)
rna
l mu .r o. </9 ra n r-Qn nu:A.,i . zotl-
(
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d,<:z bczl
/."
="
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dc
nc..1ar c. d-a-aL
-
trLqu,e, tla
yher- n1o.sa cuaL
ma
Sa
jv too -ta tro pc
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caL o.io:
a;
-102-
as duleel tr'"sLo,, mt
bL24
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un ac
ma -nro
Sa
saX 3u,
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LcL ,4e
j
:nor Sort.SuaLrql pa . sorl
de-ur1 paL r, a.
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Tsbi
Es 4aq
-
d-or furl-t"
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y tu'
PieL
dp-ria
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o,; 1u/-
-
103
*-
INTROD.
y''lode"ato
fz,az-dz -zo s
LOS OJOS NEGROS
CRIOLT-
,
BOLRO
,ae ar-,rylb,
//e'rot
<-a-Dor
--_-
Arturo Cuerra
Tpo. de CzoUa:
.n
-
e
-
;os o-1os f,ac o-Jot De
-gros,
-
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Qa"
rle6'*" /=
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i
p{:'-
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du r/"ro
-104-
6a-be d
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derpLt ac ).2 -
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las
ooo lur o
1as
tgo
:
al
veo-sar
y7a/-6rtt o tDt /-\tee,
/al
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I
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L'
D:
:1
,
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Lna e-saa.+ta cetts o
-
tos
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-105-
LAMENTO CUBANO
I -etra de Te6filo Radillo
AL EGRETTO
Msica de Eliseo Grenet
-
/a-/za ze n-e
-
7a
ta
tdnq aal.ra 1:
-
105
at a*nzbtratei
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, 4 a 62 , ze1-
-
12r .a1prs/"r'at d" ez.dat pe-,t/e.t e/
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re
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s-rr a.! - u lrz
se
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vo, 1ze
ou
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fuy
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7ze..azea

-
107
JUNTO A UN CANAVERAL
GUJIR.sON
Rosendo Ruiz
TPO DE GUAJIRA
a-2.4s'-4---{
J
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.d;ate -. J,
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108
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2
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++ "<1^YE"
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r-
Tpo. de
-109-
LA CLEPTOMANA
BOLERO
Poesia de Aeustin Acosta
Msica de Manuel Luna
Yo dera,bo..
Je
-Z/is
.4usJe
--
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is
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cu
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vas fp
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ds
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tu
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TRIGUENITA
CANCION
qz /a
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SOLA Y TR
BOI ERO
I STE
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e 2z
Armando Valdespi
o,ez-/a; nay so/3.v n"X t ,sle &n v.d.rel 2,41
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2.7
t. -a
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aal-tru-ta ztt-.eva,-ailsl ..r-rr.'z,z .
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as-le /as )a lar nas d!/aei
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te qziaa @a -Y_"r.+a ?!/
-
Ja/a y Trzitz 2.
-tt7-
I'
MARIA BELEN CHACON
ROMN7 CIIRN
Letra de
Jos
Snchez Arcilla
flar/er.afo.
1t
,a1
Msica de Rodriso Prats
a oa" tu /e dzs
-
te
,aJ
..aet a Dal bd -
1
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aas- /
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Caalabt /e
-118-
. .1o-.1c ,o re
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e-1e Cba -
co -7a
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zcD
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.a rza 8eb4
-119-
a
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nT- leS 1ca
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7uc
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(le
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ya
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pa.,/l
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4e - zz-e e-
zjazb ab) .J,
-
120
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:
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Clz
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coo.
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l.
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1,21
-
b "er:
'n
UNA ROSA DE FRANCIA
CRIOI-I- BOLERO
el Gravier Gabri
fi
Leira de
Msica de Rodrigo Prats
o
gon- da
,t
u_ na
,/_-e
tar-de le
y'la-yo
P**
su liiJug*'i"
d
7,
o10 _
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de mi rar- din en cal-*a
S-. +
-\-/
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aun 1 lle-voenel
t**
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u_y soa-!e. ?o_sa de rrdnJrd
(o
Jnunfdto de
Aoa osa /c francla
t
-
122
{
BOLERO
he-.chi
-ceta
gte
l---
e legarcial o
brin
-da
r-
Rt-;-" f*r-*.t
,'P * * * t
cu-1a y'i nailra
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6un-oi"-S
e + t--\.
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rV
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mr_J_8.ro rne
z iJ-iu
tu"-d" J.
ra4

1la-va

Una t?"sa le fradcia ?, 123

-
LAGRIMAS NEGRAS
BOI-ERO - SON
Mieuel Matamoros
Aun qua tu- maldsdqadoan,zl a ban do - no
i
tu- hasmuerto todasntsiltt sio - aes
cirte eonlus-to3n.co - no anmissueosta col - raa-a1 m;s s1eio5 te
l-
t24
-
ou
Jro
/d tn meos pe.fl
detua/
_trd-i
fundo
de tu
y /1o - ro
lJanb sepas
7uac7
-125-
Zggkas [agras 2
tltontuno
sa
/rir
Tume
guie'res
s6n-[i-go me voymi Sao - taaun geecas-te.
ll
---
12 -r
-126-
(
I
FRUTAS DEL CANEY
PRE6ON
Fnt
-
Cas oL112t1 01112, f2 Cnmbrdrme fru t-a5
t
tt
4 ,r
n/u.l
4",
dQ
TI/od.erato e
9r<t
zLa.to
-
127
-
PL
Pc.a
dul ce co
mo_a
1,1/- c-a--
co Se cha dds e1
La bios cLe rru
-
ven.dqel * conp.1fo dz ,na rnoy
-
/1as
guzde. Lt eLo .
-
t28
Ca.rey dLo.t"terl,to
z.rra d.e.-a t\a - Tes
-
ca- r7a
fo
- xida dotT
"de
vi-vi eL Si -oo-
doq.dz ksy'u-
-

-
sarT co.
mo
i(lo
- res
-
112.46s
6lp-a.7s ma.y-sa.b*.ra . d,as da qiel
-tzg-
ttz ta di.vi. ,'l
-
dol d,e { rqa .
ao
de
be.q,dt -
cioq
-
gutz'1qute.re
conprar,qe
/ru.Las
sd ,ro. sa,s.
fio-qes1
-
ma -rnon
, cL l.Los del Ca .
-130-
SE VA EL DULCERITO
PREGON
Rosendo Ruiz
LJ}I
?a-r!
[.e
-
La Do ractcl que
?ue
ta
urereel dutce- oze-ree/ d>Z - ce-r
o"- el c{ul.errto..1
-
131-
]T
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tr*
pe
yet
d a-c +
r.-aas
ca,
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el ,'z-co ao^6u.
+
vta-;-,'Je
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Msica de Eliseo Grenet
NEGRO BEMBON
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Nicols Guilln
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Letra de Nicols Gu;lln
soNGoRo cosoNco
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Mrisica de Eliseo Crenet
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l/ez6raz 6nr8o-ro o- ioBo de
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139
Letra de Nicols Guilln
MODFPTO
OUIRINO CON SU
CNCION FRO - CUBN
Msica de Emilio Grenet
TRES
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f1,-4o con 6Lt tros Qui
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con su tres
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Qulr..rlo
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41
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la
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5u,
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14i
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TU NO SABE INGLE
CNCION FRO CUBANA
Letra de Nicols Cuilln
Mrlsica de Emilio Crenet
MoDb.o
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ca-lea
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-144-
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147
YAM BAM BO
CNTO NECRO
Letra de Nicols Cuilln
74ga*valo.
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Msica de Emilio Grenet
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BEMBE
Cilberto Valds
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MI VIDA ES CANTAR
ROMN7 DF,I. 1/IRGFN MORNA
Letra de Aurelio G. Riancho Mrisica de Eliseo Grenet
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,tloderato Dosso
.
JUNTO AL RIO
FNTASIA CUJIR
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Ju-loat Jan-li
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AHORA OUE ERES MIA
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Ernestina Lecuona
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SUN SUN PALOMA
Alejandro
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Rodrisuez
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SON DE LA LOMA
Miguel Matamoros
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LAS CUATRO PALOMAS
SON
Ignacio Piieiro
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176
TRES LINDAS
soN
CUBANAS
Guillermo Castillo
bLal gL.a br.e4 qu-e
vd vaS aol vi - /71a1 pe..ra
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EL OUE IEMBRA SU MAIZ
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Miguel Matamoros
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LA MUJER ANTONIO
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la cn
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Miguel Matamoros
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La,auier de<'ntal;o
ROSA OUE LINDA ERES
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Juan
Francisco Mndez
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-182-
BUCHE Y PLUMA N'MA
soN
Rafael Hernndez

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Ignacio Pineiro
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*188_
BRUCA MANIGUA
SON FRO CUBNO
Asenio Rodriguez
LEHTO
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ALEGRE CONGA
Mieuel Matamotos
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